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THE  TOLEDO  MUSEUM 
OF  ART 

CATALOGUE 

OF 

THE  INAUGURAL 
EXHIBITION 


# 

L. 


LADY  PETRE  BY  THOMAS  GAINSBOROUGH,  R.  A. 
LENT  BY  HENRY  E.  HUNTINGTON,  ESQ.,  NEW  YORK 


THE  TOLEDO  MUSEUM 
OF  ART 


CATALOGUE 

OF 

THE  INAUGURAL 
EXHIBITION 


JANUARY  SEVENTEENTH 
TO 

FEBRUARY  TWELFTH 


AN.  DNI.  MCMXII 


1 


Copyright,  1912.  by 
The  Toledo  Museum  of  Art 


THE  J.  PAUL  GETTY  MUSEUM  LIBRARY 


THE  TOLEDO  MUSEUM  OF  ART 


President 

OFFICERS 

Edward  Drummond  Libbey 

First  Vice-President William  Hardee 

Second  Vice-President  ....  Arthur  J.  Secor 
Treasurer  Isaac  E.  Knisely 


Assistant  Treasurer 

C.  Justus  Wilcox 

Secretary 

Assistant  Secretary  . 
Director 

Charles  A.  Schmettau 

Leila  E.  Brown 

George  W.  Stevens 

Assistant  Director  . . 

Nina  Spalding  Stevens 

Charles  S.  Ashley 

TRUSTEES 

Edward  Drummond  Libbey 

Clarence  Brown 

Jefferson  D.  Robinson 

Aaron  Ciiesborough 

Charles  A.  Schmettau 

John  H.  Doyle 

Arthur  J.  Secor 

Edward  Ford 

Frederick  B.  Shoemaker 

Frederick  L.  Geddes 

Barton  Smith 

William  Hardee 

Carl  B.  Spitz er 

Frank  I.  King 

Irving  Squire 

Isaac  E.  Knisely 

David  L.  Stine 

Albion  E.  Lang  Alvin  B.  Tillinghast 

William  J.  Walding 

vii 


ACKNOWLEDGMENT 


THE  officers  and  Trustees  of  The  Toledo  Museum 
of  Art  beg  to  acknowledge  their  indebtedness 
and  grateful  appreciation  for  the  kind  and  gen- 
erous cooperation  of  the  collectors  and  institutions  upon 
whose  treasures  they  have  been  permitted  to  draw  so 
freely  and  which  have  helped  materially  to  make  this 
exhibition  possible.  To  lend  for  a considerable  time 
works  of  priceless  value,  to  permit  these  to  come,  in 
many  instances,  from  far-distant  places,  denotes  an 
altruism  and  generosity  only  inspired  by  a large  public 
spirit.  The  management  bespeaks  a substantial  attend- 
ance as  a small  mark  of  the  public’s  realization  of  this 
kindness,  affording,  as  it  does,  inestimable  opportu- 
nities, at  once  educational,  refining  and  stimulating.  To 
those  organizations  and  ladies  and  gentlemen  who  have 
been  thus  liberal,  the  President  and  the  Trustees  of  this 
museum  are  profoundly  thankful,  and  their  warm  ob- 
ligations are  herewith  acknowledged. 


LENDERS 


Art  Association  of  Indianapolis. 

Art  Institute  of  Chicago. 

Buffalo  Fine  Arts  Academy. 

Carnegie  Institute,  Pittsburgh. 

Cincinnati  Museum  Association. 

Detroit  Museum  of  Art. 

Lotos  Club,  New  York. 

Metropolitan  Museum  of  Art,  New  York. 

The  National  Gallery  of  Art,  Washington  (Freer 
Collection). 

University  of  Chicago. 

The  National  Sculpture  Society. 

Frank  Gates  Allen,  Esq.,  Moline,  111. 

The  Estate  of  William  Baumgarten. 

W.  K.  Bixby,  Esq.,  St.  Louis. 

Edward  S.  Burke,  Jr.,  Esq.,  Cleveland. 

Edward  B.  Butler,  Esq.,  Chicago. 

Richard  Canfield,  Esq.,  New  York. 

Thomas  F.  Cole,  Esq.,  Duluth. 

Ralph  Cudney,  Esq.,  Chicago. 

Messrs.  Durand-Ruel,  New  York. 

Silas  S.  Dustin,  Esq.,  New  York. 

William  T.  Evans,  Esq.,  Montclair,  N.  J. 

Walter  P.  Fearon,  Esq.,  New  York. 

The  Folsom  Galleries,  New  York. 


x 


LENDERS 


E.  L.  Ford,  Esq.,  Detroit. 

Mr.  and  Mrs.  Edward  Ford,  Toledo. 

J.  B.  Ford,  Esq.,  Detroit. 

Miss  Stella  D.  Ford,  Detroit. 

Mrs.  Nathaniel  French,  Davenport,  la. 

Henry  C.  Frick,  Esq.,  New  York. 

William  0.  Goodman,  Esq.,  Chicago. 

Frank  W.  Gunsaulus,  D.  D.,  Chicago. 

Dr.  Alexander  C.  Humphreys,  New  York. 

Henry  E.  Huntington,  Esq.,  New  York. 

Charles  L.  Hutchinson,  Esq.,  Chicago. 

F.  Kleinrerger,  Esq.,  Paris. 

Mr.  and  Mrs.  Edward  Drummond  Lirbey,  Toledo. 
Mr.  and  Mrs.  Frank  G.  Logan,  Chicago. 

The  Lotos  Clue,  New  York. 

George  Lytton,  Esq.,  Chicago. 

Henry  C.  Lytton,  Esq.,  Chicago. 

William  Macbeth,  Esq.,  New  York. 

George  Barr  McCutcheon,  Esq.,  Chicago. 

Burton  Mansfield,  Esq.,  New  Haven. 

N.  E.  Montross,  Esq.,  New  York. 

Edward  Morris,  Esq.,  Chicago. 

Bela  L.  Pratt,  Esq.,  Boston. 

Henry  Reinhardt,  Esq.,  New  York. 

Edward  Robinson,  Esq.,  New  York. 

Martin  Ryerson,  Esq.,  Chicago. 

Arthur  J.  Secor,  Esq.,  Toledo. 

George  A.  Stephens,  Esq.,  Moline,  111. 

Edward  F.  Swift,  Esq.,  Chicago. 

Mrs.  H.  N.  Torrey,  Detroit. 

Arnold  Wood,  Esq.,  New  York. 


xi 


PLAN  OF  THE  ENTRANCE  FLOOR 


THE  TOLEDO  MUSEUM  OF  ART 


TEN  years  ago,  one  hundred  and  twenty  men  each 
subscribed  ten  dollars  annually  for  the  purpose 
of  starting  The  Toledo  Museum  of  Art,  little 
thinking  at  the  time  that  their  small  beginning  would 
advance  steadily  to  such  glorious  fruition.  At  first  a 
large,  old-fashioned  residence  was  rented,  the  upper 
floors  of  which  were  converted  into  galleries  for  the 
showing  of  transient  exhibits,  there  being  then  no  per- 
manent collection.  Mr.  Edward  Drummond  Libbey  was 
elected  president.  Mr.  Almon  G.  Whiting,  the  first  di- 
rector, was  succeeded  two  years  later  by  Mr.  George  W. 
Stevens.  What  the  museum  lacked  in  the  way  of  collec- 
tions, however,  was  made  up  in  other  directions.  Good 
temporary  exhibits  were  hung;  clubs  were  organized 
among  the  rich  and  among  the  poor  for  the  study  of  art 
history;  free  drawing  and  life  classes  were  conducted; 
talks  were  given  daily,  and  thrice  daily,  in  the  galleries; 
girls  from  the  shops  were  invited  to  the  museum;  noon- 
day talks  were  given  in  the  factories  and  the  workers 
were  brought  to  the  galleries;  close  relations  were  estab- 

xiii 


THE  TOLEDO  MUSEUM  OF  ART 


lished  between  the  museum  and  the  public  schools,  in- 
cluding daily  talks  to  the  children  in  the  galleries  and 
occasional  exhibits  of  their  school  work.  Museum  ac- 
tivities were  carried  into  the  stores,  the  shops  and  the 
factories;  into  the  churches,  the  public  schools,  and  the 
Sunday  schools.  Nothing  was  left  undone  toward  es- 
tablishing a closer  relation  between  the  people  and  the 
museum.  Interest  increased  rapidly;  the  permanent 
collection  received  many  additions  and  the  old  building 
soon  became  far  too  small  for  its  manifold  activities. 
Such  were  the  modest  beginnings  from  which  sprung  the 
splendid  institution  now  opened  to  the  public. 

The  present  building,  designed  by  Architects  Green 
and  Wicks  of  Buffalo,  and  H.  W.  Wachter  of  Toledo,  is 
of  white  marble,  the  style  being  Greek  Ionic  of  the  Pe- 
riclean  period.  It  has  a frontage  of  two  hundred  feet, 
and  is  located  in  the  heart  of  the  residential  part  of 
Toledo,  in  a grove  of  splendid  forest  oaks.  Before  the 
building  extends  a broad  terrace  of  granite  and  marble, 
three  hundred  feet  wide  and  two  hundred  feet  deep, 
which  includes  a large  fountain  and  pool.  This  terrace 
leads  to  the  entrance  of  the  main  floor,  which  contains 
the  sculpture  court,  twelve  large  exhibition  galleries,  a 
free  art  reference  library  capable  of  housing  five  thou- 
sand volumes,  the  business  offices  and  the  hemicycle  or 
auditorium,  which  will  seat  four  hundred  people.  The 
main  entrance  court,  sixty-six  by  forty-four  feet  in  size, 
is  constructed  of  Indiana  limestone,  and  is  supported  by 


xiv 


THE  TOLEDO  MUSEUM  OF  ART 

eighteen  monolithic  columns.  The  main  painting  gal- 
leries are  forty  by  sixty-two  feet.  In  every  particular 
the  building  is  absolutely  fire-proof.  In  addition  to  the 
main  floor,  there  is  hidden  by  the  terrace  a ground  floor 
containing  eight  large  exhibition  rooms,  together  with 
club  rooms,  workshops  and  rooms  for  receiving,  pack- 
ing and  storing. 

The  building  and  grounds  represent  an  expenditure 
of  $400,000,  one-half  of  which  amount  was  the  gift  of 
the  president,  Mr.  Edward  Drummond  Libbey;  the  other 
half  was  raised  by  popular  subscription  in  sums  ranging 
from  ten  cents  to  fifteen  thousand  dollars.  All  classes 
of  citizens  contributed:  merchants,  bankers,  school  chil- 
dren, members  of  women’s  clubs,  artists,  students  and 
the  men  and  women  of  the  factories.  It  is,  in  short,  an 
institution  of  the  people,  erected  and  maintained  by 
them  without  municipal  aid.  It  is  finally  opened  abso- 
lutely free  from  debt,  and  is  supported  by  twelve  hun- 
dred members,  paying  annual  dues  of  amounts  varying 
according  to  membership  classification.  Scott  Place,  the 
beautiful  site  of  the  new  building,  is  the  gift  of  Mr.  and 
Mrs.  Edward  Drummond  Libbey,  and  was  formerly 
part  of  the  homestead  land  of  Mrs.  Libbey’s  family.  The 
Board  of  Trustees  consists  of  twenty-one  loyal  mem- 
bers, who  have,  during  the  past  ten  years,  given  gener- 
ously of  their  time,  money,  interest  and  encouragement 
in  promoting  the  welfare  of  the  institution. 

Such,  in  brief,  is  the  story  of  The  Toledo  Museum  of 


xv 


THE  TOLEDO  MUSEUM  OF  ART 


Art.  It  is  a story  full  of  interest  to  other  communities 
desiring  to  possess  such  an  institution,  inasmuch  as  it 
was  started  without  the  incentive  of  a bequest,  without 
a fund  of  any  kind,  and  without  municipal  aid.  It  is  an 
achievement  of  which  Toledans  can  well  feel  proud, 
and  one  which  should  encourage  other  cities  to  do  like- 
wise, to  the  end  that  throughout  our  prosperous  country 
the  uplifting  influence  of  the  Fine  Arts  may  be  carried 
into  the  homes  and  hearts  of  the  people. 


xvi 


FOREWORD 


ONE  of  the  strongest  inherent  traits  of  man  is  that 
I which  has  impelled  him,  during  all  time,  in  all 
places  and  under  all  conditions,  to  give  artistic 
expression  to  that  divine  something  within,  which  has 
set  him  apart  as  the  highest  form  of  life.  The  historian 
and  his  precursor,  the  archaeologist,  revealing  to  us  the 
pages  of  the  dim  far-reaching  past,  fail  to  disclose  a pe- 
riod in  which  man  has  not  surrounded  himself  with 
evidences  of  his  artistic  handicraft.  It  is,  therefore,  an 
instinct  coeval  with  those  suggesting  habitation,  food 
and  raiment. 

By  this  reason,  then,  art  knows  no  country  and  exists 
unbounded  by  geographical  lines,  for  wherever  and 
whenever  man  appears,  there  also  is  disclosed  this,  his 
divine  and  inborn  attribute.  It  may  slumber  as  all  the 
intellects  have  slumbered  in  the  dark  ages  of  Europe,  of 
Greece,  or  again  far  back  in  the  ages  of  stone — always, 
however,  it  is  but  a slumbering,  which  awakens  to  a 
glorious  renaissance — the  sleep  restorative — the  winter 
of  the  intellect,  which  in  season  responds  to  the  tender, 
yet  insistent  call  of  spring. 

xvii 


FOREWORD 


The  renaissance  in  Europe,  so  richly  illumined  by  that 
passage  pertaining  to  art,  saw  the  awakening  of  the 
mentalities  in  all  directions  of  thought  and  endeavor, 
and  the  discovery  of  the  Americas  was  but  one  manifes- 
tation of  its  manifold  activities.  Michael  Angelo,  Leo- 
nardo da  Vinci,  Diirer,  Rembrandt,  Hals  and  that  galaxy 
of  other  great  luminaries  shone  resplendentlv  in  its  tri- 
umphant culmination. 

Meanwhile,  the  slender  tide  of  immigration  had  firmly 
established  on  our  shores  a new  center  of  human  hopes, 
endeavors,  ambitions  and  inspirations.  No  master  hand 
was  there  to  guide  their  performance,  no  masterpiece  to 
instil  in  them  the  desire  of  emulation,  and  yet  from  these 
virgin  surroundings,  from  the  turmoil  of  readjustment 
and  all  its  attending  crudities,  emerged  the  forefathers 
of  American  art,  unnurtured,  unproclaimed,  unfavored 
by  environment,  but  fully  equipped  to  compel  forthwith 
the  admiration  and  reverence  of  the  older  world. 

Benjamin  West,  born  in  1738,  reared  in  primitive  sim- 
plicity in  an  obscure  Quaker  village,  felt  stirring  within 
him  that  desire,  as  old  as  the  human  race  itself,  and  with 
pigment  secured  from  the  Indians  set  to  work  develop- 
ing those  talents  which,  while  they  were  recognized  at 
home,  received  perhaps  fuller  appreciation  in  England, 
where  he  followed  Sir  Joshua  Reynolds  as  president  of 
the  Royal  Academy.  His  contemporary,  John  Singleton 
Copley,  born  in  Boston  in  1737,  also,  when  attaining  his 
full  powers,  found  in  England  that  appreciation  more 

xviii 


FOREWORD 


congenial  to  his  art.  There  he  died  full  of  honor,  and 
there  his  son  became,  three  times,  the  Lord  Chancellor 
of  the  nation.  Gilbert  Stuart,  son  of  the  New  England 
snuff-maker,  became  the  favored  of  fashion,  a leading 
painter  in  London,  but  returned  to  his  native  America 
that  he  might  bequeath  to  us  those  noble  portraits  of  the 
great  Washington. 

Great  names  were  those  of  Reynolds,  Gainsborough, 
Raeburn  and  Romney,  and  greatly  were  they  rever- 
enced, but  our  Americans,  although  they  sprung  from  a 
far  less  nurtured  soil,  at  no  period  did  they  fail  to  make 
their  impress  in  the  exhibitions  and  upon  the  painters 
and  the  public  of  the  older  world.  West,  Peale,  Stuart, 
Trumbull,  Allston,  and  scores  of  others  upheld  glori- 
ously the  honor  of  early  American  art. 

In  1808,  John  Vanderlyn,  the  boy  from  a Hudson 
River  blacksmith  shop,  received  from  the  hand  of  Na- 
poleon a medal  awarded  his  picture  then  hanging  in  the 
Salon.  Thread  your  way  through  the  streets  of  any 
American  city,  knocking  at  each  door  with  the  inquiry, 
“Who,  pray,  is  John  Vanderlyn?”  and  who,  think  you, 
will  make  answer? 

The  number  of  Americans  who  really  appreciate  what 
our  men  have  done  is  pitifully  small,  yet  at  no  period 
have  our  painters  failed  to  make  their  full  contribution 
to  the  art  progress  of  the  world. 

Had  it  not  been  for  the  American  painters  in  London, 
during  the  latter  half  of  the  Victorian  era,  modern  Eng- 


xix 


FOREWORD 


lish  art  would  have  been  deprived  of  much  of  its  luster. 
Sargent  and  many  others  were  an  active  leaven,  while 
that  great  American  master,  Whistler,  alone  magnifi- 
cently assailed  the  anecdotal  impotency  of  the  times, 
with  pen-point  or  canister,  laughter  or  thunderbolt, 
broadsword  or  rapier,  whichever  was  at  the  moment 
best  calculated  to  administer  the  shock  necessary  for  the 
revivification  of  much  of  the  art  of,  not  only  London 
Town,  but  of  the  world. 

When  the  Barbizon  painters  forsook  the  classical 
pageantry  of  the  studios  for  the  palpitating  fields  and 
woodland,  so  also  did  our  own  men  of  the  Hudson  River 
School,  of  their  own  volition,  go  direct  to  nature  for  their 
motives;  and  thus  did  Doughty,  Cole,  Durand,  Kensett, 
the  two  Harts  and  others  of  the  group  play  well  their 
parts  in  the  glorious  upbuilding  of  American  art  which 
produced  an  In  ness,  a Wyant,  a Martin,  and  their  fel- 
lows in  the  past,  and  score  upon  score  of  masters  of  the 
present  day,  who  have  carried  American  art  to  those 
heights  from  which  its  effulgence  radiates  to  all  shores 
and  compels  the  admiration  and  reverence  of  the  world. 

If  there  lurks,  in  the  rapidly  clearing  minds  of  Amer- 
icans, any  doubt  as  to  the  exalted  position  our  country 
has  taken  in  the  world  of  art,  it  is  not  the  fault  of  our 
great  masters,  but  rather  that  of  our  great  public.  Such 
fallacies  as  these,  do  they  still  exist,  it  is  the  mission  of  The 
Toledo  Museum  of  Art  to  dispel,  in  its  field  of  influence, 
as  do  the  other  museums  of  the  country  in  theirs.  The 


xx 


FOREWORD 


present  inaugural  exhibition  can  by  no  means,  with  the 
space  at  its  disposal,  give  all  our  great  men  representa- 
tion. We  do  know,  however,  that  Ihose  examples  shown 
will  bring  our  people  face  to  face  with  the  work  of  many 
of  the  greatest  of  our  painters  and  sculptors.  Our  loy- 
alty to  American  art  will  he  fully  made  manifest  as  time 
progresses. 

It  was  deemed  wise  that  our  inaugural  exhibition  be 
as  comprehensive  as  possible  in  its  scope,  and  lo  that  end 
we  have  brought  together  great  masterpieces  of  many 
lands  and  periods.  In  fact,  the  exhibition  ranks  in  im- 
portance with  Ihe  art  sections  of  the  great  American  ex- 
positions of  recent  years.  All  of  the  greatest  Old  World 
painters,  past  and  present,  are  adequately  represented 
by  important  examples,  including  the  master  portraits 
of  the  Georgian  period  in  England,  Reynolds,  Gainsbor- 
ough and  Raeburn;  important  works  by  Turner,  Con- 
stable, Watts  and  Rossetti;  great  canvases  by  the  giants 
of  the  Lowlands,  Rembrandt,  Hals  and  Rubens;  by 
Millet,  Corot  and  the  Barbizon  men;  by  Manet,  Monet 
and  the  foremost  Impressionists;  by  Lhermitte,  Le  Si- 
daner  and  others  of  the  modern  French  School;  by  the 
master  of  modern  Dutch  masters,  Josef  Israels;  together 
with  works  by  Mauve,  the  brothers  Maris  and  many 
other  great  painters,  past  and  present,  including  a gal- 
lery devoted  entirely  to  the  art  of  Japan. 

This  outline  of  the  scope  of  the  inaugural  exhibition 
is  sufficient  to  set  forth  the  high  ideals  established  by 


xxi 


FOREWORD 


President  Edward  Drummond  Libbey,  whose  pleasure 
it  has  been  to  bring  together  this  exhibition,  which  will 
auspiciously  inaugurate  the  career  of  the  new  museum. 
We  feel  that  the  people  of  this  part  of  the  country  will 
appreciate  these  efforts,  and  will  by  their  appreciation 
and  interest  enable  us  to  carry  forward  our  activities  as 
successfully  as  they  have  been  commenced,  that  our 
institution  may  be  a lasting  credit  and  glory  to  our  city, 
to  our  state  and  to  our  country. 

George  W.  Stevens,  Director. 


XXII 


CONTENTS 


PAGE 

Acknowledgment ix 

Lenders x 

The  Toledo  Museum  of  Art xiii 

Foreword xvii 

PART  I 

American  Paintings 1 

PART  II 

American  Sculpture 43 

The  Art  of  Sculpture  in  America 45 

Catalogue 49 

Tapestries  in  Sculpture  Court 68 

PART  III 

European  Paintings 69 

xxiii 


CONTENTS 

PAGE 

PART  IV 

Memorial  Exhibition  of  the  Work  of  Josef 

Israels 105 

Address  by  Frank  Wakeley  Gunsaulus,  D.  D.  107 
Catalogue . 133 

PART  V 

Oriental  Paintings 139 


List  of  Contributors 151 

List  of  Artists  Represented 160 


xxiv 


ILLUSTRATIONS 

FACING 

PAGE 


American  Paintings 

Sunlight  on  the  Coast,  by  Winslow  Homer,  N.  A.  3 
Finisterre,  by  George  Elmer  Browne  ....  4 

A Family  Group,  bv  George  de  Forest  Brush, 

N.A."  . . . ‘ 6 

Woman  and  Child,  by  Mary  Cassatt 8 

Alice,  by  William  M.  Chase,  N.  A 9 

Autumn,  by  Elliott  Daingerfield,  N.  A.  ...  10 

The  Ancient  Window  of  Nemours,  by  Childe 

Hassam,  N.  A 12 

Early  Moonlight,  by  Ben  Foster,  N.  A 14 

The  Family,  by  Charles  W.  Hawthorne,  N.  A.  . 16 

The  Ball-Players,  by  William  Morris  Hunt  . . 18 

A Silvery  Morning,  by  George  Inness,  N.  A.  . . 19 

Muse  of  Painting,  by  John  La  Farge  ....  20 

Portrait  of  ex-President  Roosevelt,  by  Gari 

Melchers,  N.  A 22 

Lower  Broadway,  by  Jonas  Lie  23 

The  Vespers,  by  Gari  Melchers,  N.  A 24 

Ice-Bound,  by  Willard  Leroy  Metcalf  ....  26 

The  Hill-Top,  by  John  Francis  Murphy,  N.  A.  . 28 


xxv 


ILLUSTRATIONS 


American  Paintings — Continued 

Portrait  of  Edward  Robinson,  Esq.,  by  John  S. 
Sargent,  N.  A.,  R.  A 30 

Portrait  of  James  Whitcomb  Riley,  by  John  S. 
Sargent,  N.  A.,  R.  A 32 

Snow-clad  Fields  in  Morning  Light,  by  Gardner 
Symons,  N.  A.  ...........  34 

An  Evening  in  May,  by  Dwight  W.  Try  on,  N.  A.  36 

Plowing — the  First  Gleam,  by  Horatio  Walker, 

N.  A 37 

Rosa  Corder,  by  James  McNeill  Whistler  ...  38 

Rose  and  Gold — The  Little  Lady  Sophie  of 
Soho,  by  James  McNeill  Whistler  ....  40 

American  Sculpture 

Portrait  Bust  of  President  Taft,  by  Robert  I. 
Aitken,  A.  N.  A 49 

Man  Cub,  by  A.  Stirling  Calder,  A.  N.  A.  . . . 50 

The  Medicine  man,  by  Cyrus  E.  Dallin  ...  52 

Angel — Detail  of  Chapman  Memorial,  by  Daniel 
Chester  French,  N.  A 54 

Group  for  Fountain,  by  Isidor  Konti,  N.  A.  . . 56 

The  Sun  Vow,  by  H.  A.  MacNeil,  N.  A 60 


European  Paintings 

Spring,  by  Sir  Lawrence  Alma-Tadema,  R.  A.  . 71 

Arundel  Mill  and  Castle,  by  John  Constable, 

R.  A 72 

The  Shepherds’  Star,  by  Jules  A.  Breton  ...  73 
The  Repentance  of  Peter,  by  Jean  Charles  Cazin  74 
The  Ravine,  by  Jean  Baptiste  Camille  Corot  . 75 


XXVI 


ILLUSTRATIONS 


European  Paintings — Continued  f^ge° 

La  Cueillette  a Mortefontaine,  by  Jean  Baptiste 
Camille  Corot 76 

Pool  at  the  Edge  of  the  Forest,  by  Narcisse  Vir- 
gile  Diaz  de  la  Pena 77 

Dead  Game,  by  Jan  Fyt 78 

Lady  Petre,  by  Thomas  Gainsborough,  R.  A.  . Title 

Viscount  Ligonier,  by  Thomas  Gainsborough, 

R.  A ' 78 

Viscountess  Ligonier,  by  Thomas  Gainsbor- 
ough, R.  A 78 

The  Market  Cart,  by  Thomas  Gainsborough, 

R.  A.  . . . 79 

Peter  Burrell,  First  Lord  Gwydyr,  by  Thomas 
Gainsborough,  R.  A 80 

St.  Jerome,  by  El  Greco  (Domenico  Theotoco- 
puli) 80 

Portrait  of  Mademoiselle  Greuze,  by  J.  B.  Greuze  80 

Boy  Playing  a Flute,  by  Franz  Hals 81 

Landscape  with  Sheep,  by  Charles  Emile  Jacque  82 

Portrait  of  the  Countess  de  Chatenay,  by  Mme. 
Vigee  Le  Brun 83 

The  Bull-Fight,  by  Edouard  Manet 84 

A Stormy  Day,  by  Jacob  Maris 84 

Amsterdam,  by  Jacob  Maris 85 

Sheep  on  the  Dunes,  by  Anton  Mauve  ....  86 

Going  to  Pasture,  by  Anton  Mauve 86 

Sheep  at  Laren,  by  Anton  Mauve 86 

Plowing,  by  Anton  Mauve 87 

xxvii 


ILLUSTRATIONS 


European  Paintings — Continued  f£ageG 

Sheep-shearing,  by  Jean  Francois  Millet  ...  88 
Laborer  Piesting,  by  Jean  Francois  Millet ...  88 

Shepherdess,  by  Jean  Francois  Millet  ....  88 

The  Goose  Girl,  by  Jean  Francois  Millet  ...  89 

Pieta,  by  Jan  Prevost 90 

Lady  Janet  Traill,  by  Sir  Henry  Raeburn,  R.  A.  91 
Portrait  of  Himself,  by  Rembrandt 92 

The  Marquis  of  Granby,  by  Sir  Joshua  Reynolds, 
P.R.A.  92 

Portrait  of  Thomas  Grove,  by  George  Romney  . 92 

Caroline,  Viscountess  Clifden  and  her  Sister 
Lady  Elizabeth  Spencer,  by  George  Romney  93 

Beata  Beatrix,  by  Gabriel  Charles  Dante  Ros- 
setti . . . 94 

Le  Dormoir — Foret  tie  Fontainebleau,  by  Theo- 
dore Rousseau 95 

The  Woman  Taken  in  Adultery,  by  Peter  Paul 
Rubens  96 

Portrait  of  the  Marquis  Spinola,  bv  Peter  Paul 
Rubens  97 

Cattle  Drinking  at  a Pool,  by  Constant  Troyon  . 98 

The  Calm,  b}r  Jan  van  der  Capelle  .....  99 

Madonna,  by  Joos  Van  Cleef 100 

Portrait  of  Count  Pfals-Neuburg,  by  Anthony 
Van  Dyck 101 

Time,  Death,  and  Judgment,  by  George  Fred- 
erick Watts,  R.  A 102 

The  Windmills,  by  J.  H.  Weissenbruch  . . . 103 

xxviii 


ILLUSTRATIONS 


FACING 
PAGE 

Memorial  Exhirition  of  the  Work  of  Josef  Israels 
Last  Portrait  of  the  Artist,  Painted  by  Himself  . 107 


The  Sexton  of  Katwijk 108 

The  Ray  of  Sunshine 109 

Expectation  110 

The  Pancake Ill 

Old  Age 112 

The  New  Flower 113 

Maternal  Happiness 114 

After  the  Storm 115 

The  Frugal  Meal 116 

In  Thought 117 

The  Army  and  the  Navy 118 

The  Three  Paddlers 119 

The  Madonna  of  the  Cottage 120 

The  Daily  Bread 121 

Near  the  Cradle 122 

The  Potato  Peelers 123 

The  Trousseau  124 

Washing  the  Cradle 125 

Toilers  of  the  Sea  . 126 

Children  of  the  Sea 127 

The  Cottage  Madonna 128 

Mother’s  Cares 129 

Homewards 130 


xxix 


ILLUSTRATIONS 


Oriental  Paintings  f£ageG 

Panel,  by  Koyetsu 141 

Twofold  Screen,  by  Koyetsu 142 

Part  of  Screen,  by  Sotatsu 144 

Japanese — Artist  Unknown 146 

Japanese — Artist  Unknown 148 


xxx 


PART  I 

AMERICAN 

PAINTINGS 


SUNLIGHT  ON  THE  COAST  BY  WINSLOW  HOMER, 
OWNED  BY  THE  TOLEDO  MUSEUM  OF  ART 


CATALOGUE 

OF 

AMERICAN  PAINTINGS 

JOHN  W.  ALEXANDER,  P.  N.  A. 

CONTEMPORANEOUS  AMERICAN 

President  of  the  National  Academy  of  Design.  Officer 
of  the  Legion  of  Honor,  France.  Member  of  the  National 
Society  of  Arts  and  Letters.  On  staff  of  Harper  & Broth- 
ers for  a while.  Born  at  Pittsburgh.  Studied  in  Munich, 
Germany,  at  the  Academy  of  Arts.  Has  done  much 
decorative  work,  notably  that  of  the  Carnegie  Institute  at 
Pittsburgh.  Many  medals  and  orders.  Painter  of  por- 
traits and  figure  compositions. 

1 

SUNLIGHT 

Lent  by  the  Art  Institute  of  Chicago. 

2 

A SUMMER  DAY 

3 

A BUTTERFLY 


Lent  by  the  Artist. 


3 


THE  TOLEDO  MUSEUM  OF  ART 


HUGO  BALLIN,  A.  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  New  York.  Pupil  of  Art  Students’  League, 
New  York,  where  he  was  awarded  Scholarship.  Studied 
further  in  Rome  and  Florence,  Italy.  Associate  of  the 
National  Academy  of  Design.  Member  of  the  Architec- 
tural League  and  Society  of  Mural  Painters.  Medal,  New 
York. 


4 

AN  .EGEAN  GARDEN 
Lent  by  the  Artist. 


JOHN  W.  BEATTY 

CONTEMPORANEOUS  AMERICAN 

Born  at  Pittsburgh,  Pa.  Pupil  of  the  Academy  of  Arts, 
Munich,  Germany.  Director  of  Carnegie  Institute,  Pitts- 
burgh. Member  of  various  international  juries  and 
many  art  societies. 

5 

CHILTON  DOWNS 


Lent  by  the  Artist. 


4 


FINISTERRE  BY  GEORGE  ELMER  BROWNE 
LENT  BY  GEORGE  BARR  MG  CUTCHEON,  ESQ.,  CHICAGO 


PART  I : AMERICAN  PAINTINGS 

CECILIA  BEAUX,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Philadelphia.  Pupil  of  William  Sartain,  the 
Academie  Julien,  Paris,  and  of  Charles  Lasar.  Societaire 
Societe  des  Beaux  Arts,  Paris.  Medals,  Paris,  Philadel- 
phia, Pittsburgh,  Buffalo,  and  elsewhere. 

6 

GILA  AND  SARI T A 
Lent  by  the  Artist. 


FRANK  W.  BENSON,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Boston.  Pupil  of  the  school  of  the  Boston  Mu- 
seum of  Art  and  the  Paris  schools.  Member  of  The  Ten 
American  Painters  and  the  National  Society  of  Arts  and 
Letters.  Medals,  Paris,  Pittsburgh,  St.  Louis,  Buffalo, 
Philadelphia,  New  York,  Boston,  Chicago,  and  else- 
where. Painter  of  portraits  and  figure  compositions. 

7 

A RAINY  DAY 
Lent  b}r  the  Art  Institute  of  Chicago. 

8 

SUMMER  NIGHT 


Lent  by  the  Artist. 


THE  TOLEDO  MUSEUM  OF  ART 


FRANK  W.  BENSON,  N.  A.— Continued 

9 

THE  GOLDEN  SCREEN 
Lent  by  the  Artist. 

10 

THE  SISTERS 

Lent  by  the  Buffalo  Fine  Arts  Academy. 


LOUIS  BETTS 

CONTEMPORANEOUS  AMERICAN 

Born  at  Little  Rock,  Ark.  Largely  self-taught.  Painter 
of  portraits.  Represented  in  many  institutions. 

11 

PORTRAIT  OF  CHARLES  L.  HUTCHINSON,  ESQ. 

PRESIDENT  OF  THE  ART  INSTITUTE  OF  CHICAGO 

Lent  by  the  University  of  Chicago. 


RALPH  ALBERT  BLAKELOCK 

CONTEMPORANEOUS  AMERICAN 

Born  at  New  York,  1847.  Self-taught.  An  original 
painter  of  the  landscape,  with  a remarkable  color  sense, 
who  struggled  years  for  recognition  and  eventually  was 
incapacitated  for  work  of  any  kind.  Since  his  unfortu- 
nate withdrawal  from  the  world,  his  canvases  have 

6 


A FAMILY  GROUP  BY  GEORGE  RE  FOREST  BRUSH, 
LENT  BY  THE  ART  INSTITUTE  OF  CHICAGO 


PART  I : AMERICAN  PAINTINGS 


found  large  appreciation,  and  to-day  he  is  considered 
among  the  leaders  of  the  tonal  school,  his  pictures  being 
in  many  famous  collections.  He  is  still  living,  though  in 
strict  retirement. 

12 

SUNSET 

Lent  by  Burton  Mansfield,  Esq.,  New  Haven. 

13 

AUTUMN 

Lent  by  the  Buffalo  Fine  Arts  Academy. 


GEORGE  ELMER  BROWNE 

CONTEMPORANEOUS  AMERICAN 

Born  at  Gloucester,  Mass.  Pupil  of  Benson,  Tarbell,  De 
Camp  and  Major,  in  Boston,  and  of  Lefebvre  and  Tony 
Robert-Fleury,  in  Paris.  Represented  in  the  Luxem- 
bourg Museum,  Paris. 

14 

FINISTERRE 

Lent  by  George  Barr  McCutcheon,  Esq.,  Chicago. 


GEORGE  DE  FOREST  BRUSH,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Shelby ville,  Tenn.  Member  of  the  National 
Academy  of  Design  and  of  the  National  Institute  of  Arts 
and  Letters.  Represented  in  the  Boston  Museum  of  Fine 

7 


THE  TOLEDO  MUSEUM  OF  ART 


Arts;  Corcoran  Gallery,  Washington;  Metropolitan  Mu- 
seum of  Art,  New  York,  and  elsewhere.  Medals,  Paris, 
New  York,  Philadelphia,  Chicago,  and  elsewhere. 

15 

A FAMILY  GROUP 
Lent  by  the  Art  Institute  of  Chicago. 

EMIL  CARLSEN,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Rorn  at  Copenhagen,  Denmark.  Member  of  the  Na- 
tional Academy  of  Design.  Represented  in  the  Metro- 
politan Museum  of  Art.  Medals  at  New  York  and  St. 
Louis. 

16 

RIPENING  CORN 

Lent  by  the  Artist. 


MARY  CASSATT 

CONTEMPORANEOUS  AMERICAN 


Born  at  Pittsburgh,  Pa.  Studied  in  Paris,  where  she  was 
seriously  influenced  by  Monet  and  Degas.  Resides  per- 
manently in  Paris.  Many  medals. 


17 

WOMAN  AND  CHILD 


Lent  by  Messrs.  Durand-Ruel,  New  York. 

8 


WOMAN  AND  CHILD  BY  MARY  CASSATT 
LENT  BY  MESSRS.  DURAND-RUEL,  NEW  YORK 


ALICE  BY  WILLIAM  M.  CHASE 


LENT  BY  THE  ART  INSTITUTE  OF  CHICAGO 


PART  I : AMERICAN  PAINTINGS 


WILLIAM  M.  CHASE,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Franklin,  Ind.  Pupil  of  B.  F.  Hayes  and  J.  0. 
Eaton  and,  in  Munich,  under  Wagner  and  Piloty.  Mem- 
ber of  the  National  Academy  of  Design;  The  Ten  Amer- 
ican Painters;  The  Secession,  Munich;  International 
Society  of  Sculptors,  Painters  and  Gravers,  London. 
Many  medals,  and  works  in  museums  and  private  col- 
lections throughout  America. 

18 

ALICE 

Lent  by  the  Art  Institute  of  Chicago. 

19 

STILL  LIFE 

Lent  by  the  Cincinnati  Museum  Association. 

20 

STILL  LIFE 

Lent  by  the  Art  Association  of  Indianapolis. 


ELLIOTT  DAINGERFIELD,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Harper’s  Ferry,  Va.  Pupil  of  Art  Students’ 
League.  Member  of  the  National  Academy  of  Design 

9 


THE  TOLEDO  MUSEUM  OF  ART 


and  New  York  Water  Color  Club.  Represented  in  the 
National  Gallery  of  Art,  Washington,  and  in  many 
museums  and  collections  throughout  the  country. 

21 

STORM  BREAKING  UP 
Lent  by  the  Artist. 

22 

AUTUMN 

Lent  by  the  Artist. 


JOSEPH  DE  CAMP 

CONTEMPORANEOUS  AMERICAN 

Born  at  Cincinnati.  Pupil  of  Frank  Duveneck  at  the 
Art  School  in  Cincinnati,  and  of  the  Royal  Academy  at 
Munich.  Member  of  The  Ten  American  Painters. 
Medals,  Paris,  St.  Louis,  and  elsewhere. 

23 

THE  PINK  FEATHER 
Lent  by  the  Artist. 


HENRY  GOLDEN  DEARTH,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Bristol,  R.  I.  Pupil  of  llie  Ecole  des  Beaux  Arts 
and  of  Aime  Morot.  Member  of  the  National  Academy 

10 


AUTUMN  BY  ELLIOTT  DA  I N G EH  FIELD,  N.  A. 


LENT  BY  THE  ARTIST 


PART  I : AMERICAN  PAINTINGS 


of  Design.  Medals  at  Paris,  New  York,  Buffalo,  Charles- 
ton and  St.  Louis. 

24 

JUNE  MOONRISE 

Lent  by  the  Artist. 


LOUIS  PAUL  DESSAR,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Indianapolis,  Ind.  Pupil  of  the  school  of  the 
National  Academy  of  Design,  New  York,  and  in  Paris  of 
Bouguereau  and  Fleury,  as  well  as  the  Ecole  des  Beaux 
Arts.  One  of  his  pictures  bought  by  the  French  govern- 
ment in  1893.  Member  National  Academy  of  Design. 
Medals,  Chicago  and  elsewhere. 

25 

RESTFUL  HOUR 

Lent  by  the  Artist. 


THOMAS  W.  DEWING,  N.  A. 

CONTEMPORANEOUS  AMERICAN 


Born  at  Boston.  Pupil  of  Jules  Lefebvre,  Paris.  Mem- 
ber of  the  National  Academy  of  Design;  The  Ten  Amer- 

11 


THE  TOLEDO  MUSEUM  OF  ART 

ican  Painters;  the  National  Society  of  Arts  and  Letters. 
Medals,  New  York,  Pittsburgh,  and  elsewhere. 

26 

PORTRAIT  OF  A GIRL 

Lent  by  the  National  Gallery  of  Art,  Washington  (Freer 
Collection). 

27 

THE  RECITATION 
Lent  by  the  Detroit  Museum  of  Art. 


GAINES  RUGER  DONOHO 

CONTEMPORANEOUS  AMERICAN 

Born  at  Church  Hill,  Miss.  Pupil,  in  Paris,  of  Bou- 
langer, Lefebvre,  Bouguereau  and  Tony  Robert-Fleury. 
Awards,  Paris,  Pittsburgh,  Chicago,  and  elsewhere. 

28 

A WATER  GARDEN 
Lent  by  the  Artist. 

29 

AZALEAS 


Lent  by  the  Artist. 


12 


THE  ANCIENT  WINDOW  OF  NEMOURS  BY  CHILDE  HASSAM,  N.  A. 
LENT  BY  THE  ARTIST 


PART  I : AMERICAN  PAINTINGS 


PAUL  DOUGHERTY,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Brooklyn,  N.  Y.  Self-taught  in  art  after  gradu- 
ating from  the  Brooklyn  Polytechnic  and  the  New  York 
Law  School.  Member  of  the  National  Academy  of  De- 
sign. Represented  in  the  Metropolitan  Museum  of  Art, 
New  York,  and  Corcoran  Gallery,  Washington. 

30 

FAIR  WEATHER 

Lent  by  the  Artist. 


FRANK  DUVENECK,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Covington,  Ivy.  Studied  at  Munich,  under  Dietz 
and  others,  for  over  ten  years.  Since  1881  has  lived  al- 
most continuously  at  Florence,  Italy.  Medal,  Chicago. 
Has  taught  much. 

31 

WHISTLING  BOY 

Lent  by  the  Cincinnati  Museum  Association. 

32 

PORTRAIT  OF  A MUSICIAN 
Lent  by  the  Owner. 


13 


THE  TOLEDO  MUSEUM  OF  ART 

BEN  FOSTER,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  North  Anson,  Me.  Pupil  of  Abbott  H.  Thayer, 
New  York,  and  of  Merson  and  Morot,  Paris.  Member 
of  the  American  Water  Color  Society  and  National  Acad- 
emy of  Design.  Medals,  Paris,  Chicago,  Cleveland, 
Pittsburgh  and  New  York. 


33 

FROSTY  MORNING 
Lent  by  the  Artist. 

34 

EARLY  MOONLIGHT 
Lent  by  the  Artist. 


WILHELM  FUNK 

CONTEMPORANEOUS  AMERICAN 

Born  in  Hanover,  Germany.  Pupil  of  the  Art  Students’ 
League,  New  York,  and  of  schools  at  Munich  and  Paris. 

35 

LITTLE  MARY 


Lent  by  the  Artist. 


14 


EARLY  MOONLIGHT  BY  BEN  FOSTER,  N.  A. 


LENT  BY  THE  ARTIST 


PART  I : AMERICAN  PAINTINGS 


ALBERT  LOREY  GROLL,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  New  York.  Pupil  of  the  Royal  Academy, 
Munich.  Represented  in  the  Corcoran  Gallery,  Wash- 
ington, and  Carnegie  Institute,  Pittsburgh.  Member  of 
the  National  Academy  of  Design.  Medals,  New  York 
and  St.  Louis. 

36 

FLYING  CLOUDS,  ARIZONA 
Lent  by  the  Artist. 

CHILDE  HASSAM,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Boston,  Mass.  Pupil  of  schools  in  Boston  and 
Paris.  Member  of  the  National  Academy  of  Design;  The 
Ten  American  Painters;  Societe  Nationale  des  Beaux 
Arts,  Paris;  The  Secession,  Munich;  the  American  Water 
Color  Society  and  the  New  York  Water  Color  Club.  Rep- 
resented in  museums  in  Philadelphia,  Pittsburgh,  Cin- 
cinnati, Buffalo,  Boston,  Providence,  Indianapolis, 
Savannah,  and  Washington.  Medals  at  Paris,  Munich, 
Chicago,  Philadelphia,  New  York,  Cleveland,  and  else- 
where. 

37 

THE  ANCIENT  WINDOW  OF  NEMOURS 
Lent  by  the  Artist. 


15 


THE  TOLEDO  MUSEUM  OF  ART 


CHILDE  HASSAM,  N.  A. — Continued 

38 

THE  LITTLE  JUNE  IDYL 
Lent  by  the  Artist. 

39 

MOONLIGHT  IN  A FRENCH  VILLAGE 


Lent  by  the  Artist. 


CHARLES  W.  HAWTHORNE,  N.  A. 

CONTEMPORANEOUS  AMERICAN 


Born  at  Illinois.  Pupil  of  William  M.  Chase.  Winner 
of  first  and  second  Hallgarten  Prizes,  N.  A.  D.  Medals, 
Worcester  Art  Museum  and  at  Buenos  Ayres.  Repre- 
sented by  “The  Trousseau,”  in  the  Metropolitan  Museum 
of  Art. 


40 

THE  FAMILY 


Lent  by  William  Macbeth,  Esq.,  New  York. 


ROBERT  HENRI,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Cincinnati.  Pupil  of  the  school  of  the  Pennsyl- 
vania Academy  of  Fine  Arts,  Philadelphia;  of  the  Ecole 
des  Beaux  Arts  and  the  Academie  Julien,  Paris.  His  pic- 
ture, “La  Neige,”  in  1889,  bought  from  Paris  Salon  for 

16 


THE  FAMILY  BY  CHARLES  W.  HAWTHORNE,  N.  A. 
LENT  BY  WILLIAM  MACBETH,  ESQ.,  NEW  YORK 


PART  I : AMERICAN  PAINTINGS 


the  Luxembourg  Gallery.  Member  of  the  Fellowship 
of  the  Pennsylvania  Academy  of  Fine  Arts.  Medals,  St. 
Louis,  Buffalo,  and  elsewhere. 

41 

LADY  IN  BLACK  VELVET 
Lent  by  the  Artist. 

42 

BALLET  DANCEB  IN  WHITE 
Lent  by  the  Artist. 


WINSLOW  HOMEB,  N.  A. 

BORN  1836.  DIED  1910 

Born  at  Scarboro,  Me.  Pupil  of  the  school  of  the  Na- 
tional Academy  of  Design  and  of  F.  Rondel.  Member  of 
the  National  Academy  of  Design;  the  American  Water 
Color  Society;  the  National  Society  of  Arts  and  Letters. 
Medals  at  Paris,  Philadelphia,  Pittsburgh,  Buffalo, 
Charleston,  St.  Louis,  and  elsewhere.  One  of  the  great- 
est of  all  American  painters,  and  renowned  for  his  pic- 
tures of  the  sea  and  shore. 

43 

EARLY  MORNING 

Lent  by  the  National  Gallery  of  Art,  Washington  (Freer 
Collection). 

44 

SUNLIGHT  ON  THE  COAST 
Owned  by  the  Toledo  Museum  of  Art. 

17 


THE  TOLEDO  MUSEUM  OF  ART 


WILLIAM  MORRIS  HUNT 
BORN  1824.  DIED  1879 

Born  at  Brattleboro,  Vt.  Began  art  studies  as  a sculptor, 
but  entered  the  studio  of  the  painter  Couture.  Became 
an  intimate  of  Millet  at  Barbizon,  being  instrumental  in 
bringing  many  of  the  latter’s  canvases  to  Boston.  At 
Boston  he  became  the  center  of  a band  of  admirers  and 
had  many  pupils.  Did  some  mural  work,  notably  in  the 
Capitol  at  Albany,  New  York.  Painted  many  admirable 
portraits  and  compositions  and  had  a strong  influence 
on  contemporary  art  in  America. 

45 

THE  BALL  PLAYERS 
Lent  by  the  Detroit  Museum  of  Art. 


FRANK  TOWNSEND  HUTCHENS 

CONTEMPORANEOUS  AMERICAN 

Born  at  Canandaigua,  N.  Y.  Pupil  of  Benjamin  Con- 
stant and  Jean  Paul  Laurens,  Paris. 

46 

THE  SONG  IN  THE  SKY 
Lent  by  Mr.  and  Mrs.  Edward  Ford,  Toledo. 

18 


THE  BALL-PLAYERS  BY  WILLIAM  MORRIS  HUNT 


A SILVERY  MORNING  BY  GEORGE  INNESS,  N.  A. 
LENT  BY  EDWARD  B.  BUTLER,  ESQ.,  CHICAGO 


PART  I : AMERICAN  PAINTINGS 


GEORGE  INNESS,  N.  A. 

BORN  1825.  DIED  1894 

Born  at  Newburg,  N.  Y.  Pupil  for  a short  while  of  Regis 
Gignoux,  but  in  the  main  self-taught.  Traveled  ex- 
tensively in  Europe,  studying  and  painting  and,  coming 
back  home  to  America,  developed  a manner  strongly  in- 
fluenced hy  the  Barbizon  men  of  France.  Spoken  of  as 
one  of  the  great  trio  of  American  landscapists,  the  other 
two  being  Wyant  and  Martin,  though  Inness  is  consid- 
ered the  greatest  of  all  the  native  men  in  this  direction. 
Of  strong  and  vigorous  personality  and  much  original- 
ity, he  remained  a serious  and  fecund  worker  all  his  life, 
and  his  work  is  to-day  eagerly  sought  after  by  the  col- 
lector. 


47 

THE  COMING  STORM 
Lent  by  the  Buffalo  Fine  Arts  Academy. 


48 

A SILVERY  MORNING 
Lent  by  Edward  B.  Butler,  Esq.,  Chicago. 


49 

AFTER  A SPRING  SHOWER 
Lent  by  the  Owner. 


19 


THE  TOLEDO  MUSEUM  OF  ART 


JOHN  C.  JOHANSEN,  A.  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  in  Denmark  but  brought  to  this  country  when  a 
child.  Pupil  of  the  Art  Institute  of  Chicago  and  of  the 
Paris  schools.  Associate  member  of  the  National  Acad- 
emy of  Design  and  member  of  the  Society  of  Western 
Artists.  Medals,  New  York,  Chicago,  and  elsewhere. 

50 

PORTRAIT  OF  MISS  F.  R. 

Lent  by  the  Artist. 


WILLIAM  KEITH 
BORN  1839.  DIED  1911 

Born  at  Aberdeenshire,  Scotland,  and  brought  to  this 
country  at  the  age  of  twelve.  Went  on  the  staff  of 
Harper  & Brothers,  publishers,  as  an  engraver,  painting 
between  whiles.  Finally  gave  himself  entirely  over  to 
picture-making  and  was  much  influenced  by  the  work 
of  the  late  George  Inness.  Represented  by  canvases  in 
museums  in  Washington,  Chicago  and  San  Francisco. 

51 

EVENING  ON  THE  HIGH  SIERRAS 
Lent  by  Mr.  and  Mrs.  Frank  G.  Logan,  Chicago. 

20 


MUSE  OF  PAINTING  BY  JOHN  LA  FAROE 
LENT  BY  THE  METROPOLITAN  MUSEUM  OF  ART,  NEW  YORK 


PART  I : AMERICAN  PAINTINGS 


WILLIAM  SERGEANT  KENDALL,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Spuyten  Duyvil,  N.  Y.  Pupil  of  the  Art  Stu- 
dents’ League,  New  York,  and  of  Thomas  Eakins,  Phila- 
delphia; also  of  the  Ecole  des  Beaux  Arts,  and  of  Luc 
Olivier  Merson,  Paris.  Represented  in  the  Metropolitan 
Museum  of  Art,  New  York;  National  Museum  of  Art, 
Washington,  and  the  Pennsylvania  Academy  of  Fine 
Arts,  Philadelphia.  Medals,  Paris,  Chicago,  New  York, 
Pittsburgh,  Buffalo,  St.  Louis,  and  Worcester,  Mass. 

52 

ALISON 

Lent  by  the  Artist. 

53 

ROSEMARY 

Lent  by  the  Artist. 


JOHN  LA  FAROE 
BORN  1835.  DIED  1910 

Born  at  New  York.  Son  of  a French  emigre.  Taught  by 
his  grandfather  Binsse  Saint- Victor.  Went  to  Paris  and 
entered  the  studio  of  Thomas  Couture.  Influenced  in 
early  days  by  William  M.  Hunt.  Came  home  and  tried 

21 


THE  TOLEDO  MUSEUM  OF  ART 


law,  but  relinquished  it  for  art.  Settled  and  painted  at 
Newport,  R.  I.  Began  mural  work  with  a decoration  in 
Trinity  Church,  Boston.  Subsequently  did  more  such 
work,  his  masterpiece  being  in  the  Church  of  the  Ascen- 
sion, Fifth  Avenue,  New  York.  The  distinctive  feature 
of  his  career  was  the  application  of  opal  glass  to  stained 
glass  windows.  An  equally  distinguished  writer  and 
lecturer. 

54 

MUSE  OF  PAINTING 

Lent  by  the  Metropolitan  Museum  of  Art,  New  York. 


WILLIAM  LANGSON  LATHROP,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Warren,  111.  Self-taught  in  art.  Member  of  the 
National  Academy  of  Design  and  the  New  York  Water 
Color  Club.  Represented  in  Carnegie  Institute,  Pitts- 
burgh; Albright  Gallery,  Buffalo;  Minneapolis  Museum. 
Prizes,  New  York,  Philadelphia,  and  Worcester,  Mass. 

55 

ROAD  TO  THE  SEA 
Lent  by  N.  E.  Montross,  Esq.,  New  York. 

22 


PORTRAIT  OF  EX-PRESIDENT  ROOSEVELT 
BY  GARI  MELCHERS,  N.  A. 

LENT  BY  THE  NATIONAL  GALLERY  OF  ART.  WASHINGTON 

(freer  collection) 


LOWER  BROADWAY  BY  JONAS  LIE 
LENT  BY  THE  ARTIST 


PART  I : AMERICAN  PAINTINGS 


JONAS  LIE 

CONTEMPORANEOUS  AMERICAN 

Born  in  Norway.  Came  early  to  America.  Began  as  a 
designer.  As  an  artist  self-taught. 

56 

LOWEB  BROADWAY 
Lent  by  the  Artist. 


WALTER  McEWEN 

CONTEMPORANEOUS  AMERICAN 

Born  at  Chicago.  Pupil  of  Cormon  and  Tony  Robert- 
Fleury,  Paris.  Chevalier  of  the  Legion  of  Honor,  Paris, 
and  the  Order  of  St.  Michael,  Bavaria.  Medals,  Paris, 
Berlin,  Munich,  London,  Vienna,  Chicago,  St.  Louis, 
Buffalo,  and  elsewhere. 

57 

LADY  IN  WHITE  SATIN  GOWN 
Lent  by  the  Art  Institue  of  Chicago. 

M.  JEAN  McLEAN 

CONTEMPORANEOUS  AMERICAN 


Born  at  Chicago.  Pupil  of  the  school  of  the  Art  Insti- 
tute of  Chicago  and  of  Frank  Duveneck.  Medals,  St. 

23 


THE  TOLEDO  MUSEUM  OF  ART 


Louis  and  Buenos  Ayres.  Wife  of  the  painter  John  C. 
Johansen. 

58 

NURSE  AND  CHILD 
Lent  by  the  Artist. 


HOMER  D.  MARTIN,  N.  A. 

BORN  1836.  DIED  1897 

Born  at  Albany,  New  York.  Pupil  of  William  Hart. 
Member  of  the  National  Academy  of  Design  and  the 
Society  of  American  Artists.  One  of  the  great  trio  of 
American  landscape  painters,  of  whom  George  Inness 
and  Alexander  H.  W}7ant  were  the  other  two. 

59 

THE  SEA  NEAR  VILLERVILLE 
Lent  by  William  Macbeth,  Esq.,  New  York. 

60 

NEWPORT  NECK 
Lent  by  the  Lotos  Club,  New  York. 


GAR  I MELCHERS,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Detroit.  Pupil  of  the  Academy  at  Dusseldorf, 
Germany,  and  the  Ecole  des  Beaux  Arts,  Paris,  as  well  as 

24 


THE  VESPERS  BY  GAR  I \I  ELCHERS 
LENT  RY  THE  DETROIT  MUSEUM  OF  ART 


PART  I : AMERICAN  PAINTINGS 


under  Boulanger  and  Lefebvre.  Member  of  the  National 
Academy  of  Design;  Royal  Academy,  Berlin;  Interna- 
tional Society  of  Painters,  Sculptors  and  Gravers,  Lon- 
don; Societe  Nationale  des  Beaux  Arts,  Paris;  Royal 
Society  of  Austrian  Painters,  Vienna;  The  Secession, 
Munich;  the  National  Society  of  Arts  and  Letters,  New 
York.  Officer  of  the  Legion  of  Honor,  Paris,  and  the 
Royal  Bavarian  Order  of  St.  Michael.  Portrait,  decora- 
tive and  genre  painter.  Medals,  Paris,  Amsterdam, 
Munich,  Vienna,  Berlin,  Antwerp,  Rome,  Chicago,  New 
York,  Washington,  Philadelphia,  St.  Louis,  Buffalo,  and 
elsewhere. 


61 

PORTRAIT  OF  EX-PRESIDENT  ROOSEVELT 
Lent  by  the  National  Gallery  of  Art,  Washington  (Freer 
Collection). 


62 

THE  VESPERS 
Lent  by  the  Detroit  Museum  of  Art. 


63 

SAILOR  AND  SWEETHEART 
Lent  by  the  Carnegie  Institute,  Pittsburgh. 


THE  TOLEDO  MUSEUM  OF  ART 


WILLARD  LEROY  METCALF 

CONTEMPORANEOUS  AMERICAN 

Born  at  Lowell,  Mass.  Apprenticed  to  wood-engraver, 
and  then  went  to  study  landscape  with  George  L.  Brown. 
After  this,  to  several  Boston  schools,  and  finally  to  Paris, 
under  Boulanger  and  Lefebvre.  Member  of  The  Ten 
American  Painters;  the  American  Water  Color  Society 
and  the  National  Institute  of  Arts  and  Letters.  Repre- 
sented in  many  museums.  Medals,  Paris,  Washington, 
Philadelphia,  Buffalo,  St.  Louis,  and  elsewhere. 

64 

ICE-BOUND 

Lent  by  the  Art  Institute  of  Chicago. 

65 

TREMBLING  LEAVES 
Lent  by  the  Artist. 

66 

BLOSSOM  TIME 

Lent  by  the  Artist. 


67 

THE  WHITE  VEIL 
Lent  by  Hie  Detroit  Museum  of  Art. 

26 


ICE-BOUND  BY  WILLARD  ELROY  METCALF 
LENT  BY  THE  ART  INSTITUTE  OF  CHICAGO 


PART  I : AMERICAN  PAINTINGS 


JOHN  FRANCIS  MURPHY,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Rorn  at  Oswego,  N.  Y.  Self-taught.  Member  of  the  Na- 
tional Academy  of  Design  and  the  American  Water  Color 
Society.  Medals,  New  York,  St.  Louis,  Ruffalo,  Chicago, 
and  elsewhere. 

68 

THE  HILL  TOP 
Lent  by  the  Art  Institute  of  Chicago. 

69 

AFTERGLOW— OCTORER 
Lent  by  Alexander  C.  Humphreys,  Esq.,  New  York. 

70 

NEGLECTED  LANDS 
Lent  by  the  Buffalo  Fine  Arts  Academy. 


LEONARD  OCHTMAN,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  in  Holland,  but  came  to  America  as  a youth.  Pupil 
of  the  Art  Students’  League.  Member  of  the  American 
Water  Color  Society.  Many  medals,  and  represented 
numerously  in  important  collections  throughout  the 
United  States. 

71 

IN  MAY 


Lent  by  the  Artist. 


27 


THE  TOLEDO  MUSEUM  OF  ART 


LEONARD  OCHTMAN,  N.  A.— Continued 

72 

AUTUMN  TINTS 

Lent  by  the  Artist. 

DE  WITT  PARSHALL,  A.  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Buffalo,  N.  Y.  Pupil  of  Cormon,  Bouguereau, 
and  Alexander  Harrison,  Paris.  Associate  Member  of 
the  National  Academy  of  Design. 

73 

FOG— GRAND  CANYON 
Lent  by  Arnold  Wood,  Esq.,  New  York. 


HENRY  W.  RANGER,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  in  western  New  York.  Self-taught.  Spent  much 
time  in  Europe,  particularly  in  Holland,  working  in 
company  with  many  of  the  modern  Dutchmen.  Repre- 
sented in  permanent  collections  of  many  museums  here, 
and  in  Europe. 

74 

PEACEFUL  VALLEY 
Lent  by  Edward  F.  Swift,  Esq.,  Chicago. 

75 

SUNSET  NEAR  MYSTIC 
Lent  by  the  Artist. 


28 


THE  HILL-TOP  BY  JOHN  FRANCIS  MURPHY,  > 
LENT  BY  THE  ART  INSTITUTE  OF  CHICAGO 


PART  I : AMERICAN  PAINTINGS 


EDWARD  W.  REDFIELD 

CONTEMPORANEOUS  AMERICAN 

Rorn  in  Delaware.  Member  of  the  National  Society  of 
Arts  and  Letters.  Fellowship  of  the  Pennsylvania  Acad- 
emy of  Fine  Arts.  Represented  in  the  Luxembourg  Mu- 
seum, Paris,  and  in  museums  in  Chicago,  Indianapolis, 
Cincinnati,  New  Orleans,  Washington,  Worcester,  New 
York,  Detroit,  Philadelphia,  and  elsewhere.  Many  med- 
als in  the  United  States  and  Paris. 

76 

WINTER 

Lent  by  the  Artist. 

77 

APRIL 

Lent  by  the  Artist. 


ROBERT  REID,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Rorn  at  Stockbridge,  Mass.  Pupil  of  the  school  of  the 
Roston  Museum  of  Fine  Arts,  the  Art  Students’  League, 
New  York,  and  of  Roulanger  and  Lefebvre,  Paris.  Mem- 
ber of  the  National  Academy  of  Design  and  The  Ten 
American  Painters.  Has  done  much  mural  work,  no- 

29 


THE  TOLEDO  MUSEUM  OF  ART 


tably  in  the  Congressional  Library,  Washington.  Also 
stained  glass.  Medals,  Paris,  Chicago,  Buffalo,  St.  Louis, 
and  elsewhere. 

78 

A VILLAGE  JUNO 
Lent  by  the  Lotos  Club,  New  York. 

79 

THE  PINK  CARNATION 
Lent  by  the  Buffalo  Fine  Arts  Academy. 


THEODORE  ROBINSON 

BORN  1854.  DIED  1896 

Born  at  Irasburg,  Vt.  Pupil  of  Carolus  Duran  and 
the  Ecole  des  Beaux  Arts,  Paris.  Member  of  the  Society 
of  American  Artists.  Medals,  New  York  and  Chicago. 
One  of  the  earliest  of  the  Americans  to  embrace  the  Im- 
pressionistic theories  of  the  Frenchmen,  by  whom  he 
was  deeply  impressed,  though  he  preserved  his  own 
personality,  and  had  a delightful  color  sense. 

80 

HALT  ON  THE  TOWPATH 
Lent  by  Silas  S.  Dustin,  Esq.,  New  York. 

30 


PORTRAIT  OF  EDWARD  ROBINSON,  ESQ., 

BY  JOHN  S.  SARGENT,  N.  A.,  R.  A. 

LENT  BY  EDWARD  ROBINSON,  ESQ.,  NEW  YORK 


PART  I : AMERICAN  PAINTINGS 


ALBERT  PINKHAM  RYDER,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  New  Bedford,  Mass.  Pupil  of  William  E.  Mar- 
shall, and  of  the  schools  of  the  National  Academy  of 
Design.  Member  of  the  National  Academy  of  Design. 

81 

MENDING  THE  HARNESS 
Lent  by  Waller  P.  Fearon,  Esq.,  New  York. 


CHAUNCEY  F.  RYDER 

CONTEMPORANEOUS  AMERICAN 

82 

A NEW  HAMPSHIRE  LANDSCAPE 
Lent  by  William  Macbeth,  Esq.,  New  York. 


JOHN  SINGER  SARGENT,  N.  A.,  R.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Florence,  of  American  parents.  Pupil  of  Carolus 
Duran  in  Paris,  where  his  work  immediately  attracted 
attention.  Member  of  the  Royal  Academy  in  London 
and  the  National  Academy  of  Design  in  New  York;  of 
various  European  societies  and  a knight  of  several  or- 

31 


THE  TOLEDO  MUSEUM  OF  ART 


ders,  including  the  Legion  of  Honor.  He  has  had  the 
Grand  Medal  of  Honor  at  most  of  the  exhibitions,  and 
is  perhaps  the  first  portrait  painter  of  the  age.  He  has 
done  decorative  work  as  well,  notably  that  in  the  Boston 
Public  Library,  and  he  is  represented  in  the  Luxem- 
bourg and  other  great  museums. 

83 

PORTRAIT  OF  EDWARD  ROBINSON,  ESQ. 

Lent  by  Edward  Robinson,  Esq.,  New  York. 

84 

PORTRAIT  OF  JAMES  WHITCOMB  RILEY 
Lent  by  the  Art  Association  of  Indianapolis. 


W.  ELMER  SCHOFIELD,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Philadelphia,  Pa.  Pupil  of  the  school  of  the 
Pennsylvania  Academy  of  Fine  Arts  and  of  the  Acade- 
mic Julien,  Paris.  Member  of  the  National  Academy  of 
Design;  of  Royal  Society  of  British  Artists,  and  Royal 
Society  of  Oil  Painters,  London;  Fellowship  of  the  Penn- 
sylvania Academy  of  Fine  Arts.  Medals,  Paris,  New 
York,  Chicago,  Philadelphia,  Buffalo,  St.  Louis,  Buenos 

32 


PORTRAIT  OF  JAMES  WHITCOMB  RILEY 
BY  JOHN  S.  SARGENT,  N.  A.,  R.  A. 

LENT  BY  THE  ART  ASSOCIATION  OF  INDIANAPOLIS 


.. 


PART  I : AMERICAN  PAINTINGS 


Ayres,  and  elsewhere.  Represented  in  the  Metropolitan 
Museum  of  Art,  New  York;  Corcoran  Gallery  of  Art, 
Washington;  and  museums  in  Cincinnati,  Indianapolis, 
St.  Louis,  Philadelphia  and  Pittsburgh. 

85 

AUTUMN  IN  BRITTANY 
Lent  by  the  Buffalo  Fine  Art''  Academy. 

86 

OLD  MILLS  ON  THE  SOMME 
Lent  by  the  Art  Association  of  Indianapolis. 


JAMES  J.  SHANNON,  R.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Auburn,  N.  Y.  Pupil  of  the  South  Kensington 
Museum  school  in  London,  where  he  has  lived  ever  since 
he  was  a student.  Member  of  the  Royal  Academy  and 
other  art  societies  in  England  and  on  the  Continent. 
Medals,  Paris,  Berlin,  Vienna,  Chicago,  Pittsburgh,  and 
elsewhere.  A portrait  painter  of  international  promi- 
nence. 

87 

MISS  KITTY 

Lent  by  the  Carnegie  Institute,  Pittsburgh. 

33 


THE  TOLEDO  MUSEUM  OF  ART 


GARDNER  SYMONS,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Rorn  at  Chicago,  111.  Pupil  of  the  Art  Institute  of 
Chicago,  and  the  Paris  schools.  Member  of  the  National 
Academy  of  Design,  the  Society  of  Western  Artists  and 
the  Societe  Internationale  des  Beaux  Arts,  Paris.  Repre- 
sented in  the  Metropolitan  Museum  of  Art;  the  Cincin- 
nati Museum,  and  elsewhere.  Medals  at  Pittsburgh  and 
New  York. 

88 

ROCK-RIBBED  HILLS  OF  NEW  ENGLAND 
Lent  by  the  Artist. 

89 

SNOW-CLAD  FIELDS  IN  MORNING  LIGHT 
Lent  by  the  Artist. 


EDMUND  C.  TARBELL,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  West  Groton,  Mass.  Pupil  of  Boston  Museum 
schools,  and,  in  Paris,  of  Boulanger  and  Lefebvre.  Por- 
trait and  genre  painter.  Member  of  The  Ten  American 
Painters.  Medals,  Boston,  Pittsburgh,  New  York, 
Chicago,  Philadelphia,  Worcester,  Mass.,  and  Paris. 

34 


PART  I : AMERICAN  PAINTINGS 


EDMUND  C.  TARBELL,  N.  A. — Continued 

90 

GIRL  CROCHETTING 


Lent  by  Bela  L.  Pratt,  Esq.,  Boston. 

91 

WOMAN  IN  PINK  AND  GREEN 


Lent  by  the  Cincinnati  Museum  Association. 


ABBOTT  HANDERSON  THAYER,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Boston.  Pupil  of  Ecole  des  Beaux  Arts,  Paris, 
under  Gerome.  Member  of  the  National  Academy  of 
Design;  the  Academy  of  Saint  Luke,  Rome;  the  National 
Society  of  Arts  and  Letters.  Medals  many  places,  and 
represented  in  most  important  American  collections. 

92 

PORTRAIT  OF  THE  ARTIST’S  SON 
Lent  by  the  National  Gallery  of  Art,  Washington  (Freer 
Collection). 


DWIGHT  WILLIAM  TRYON,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Hartford,  Conn.  Pupil  in  Paris  of  the  Ecole  des 
Beaux  Arts  and  of  J.  de  la  Chevreuse  and  Daubigny  and 

35 


THE  TOLEDO  MUSEUM  OF  ART 


Guillemet.  Member  of  the  National  Academy  of  Design 
and  the  American  Water  Color  Society.  Medals,  Munich, 
New  York,  Chicago,  St.  Louis,  Buffalo,  Pittsburgh,  Cleve- 
land, and  elsewhere. 

93 

OCTOBER 

Lent  by  the  National  Gallery  of  Art,  Washington  (Freer  - 
Collection). 

94 

AN  EVENING  IN  MAY 
Lent  by  the  Buffalo  Fine  Arts  Academy. 


JOHN  H.  TWACHTMAN 
BORN  1853.  DIED  1901 

Born  at  Cincinnati.  Pupil  of  the  Art  School  in  that  city 
and  of  Frank  Duveneck;  of  llie  Munich  Academy  and 
the  Academie  Julien,  Paris.  Member  of  The  Ten  Ameri- 
can Painters.  Medals,  New  York,  Philadelphia,  and 
Chicago. 

95 

NIAGARA  FALLS 

Lent  by  Silas  S.  Dustin,  Esq.,  New  York. 

36 


AN  EVENING  IN  MAY  BY  DWIGHT  W.  TRYON 
LENT  BY  THE  BUFFALO  FINE  ARTS  ACADEMY 


PLOWING — -THE  FIRST  GLEAM  BY  HORATIO  WALKER,  N. 
LENT  BY  N.  E.  MONTROSS,  ESQ.,  NEW  YORK 


PART  I : AMERICAN  PAINTINGS 


HORATIO  WALKER,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Rorn  at  Listowel,  Canada.  Studied  in  Canada  and  New 
York.  Member  of  the  National  Academy  of  Design  and 
American  Water  Color  Society.  Medals,  Paris,  New 
York,  Chicago,  and  elsewhere. 

96 

PLOWING— THE  FIRST  GLEAM 
Lent  by  N.  E.  Montross,  Esq.,  New  York. 


FREDERICK  J.  WAUGH,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Rorn  at  Bordentown,  N.  J.  Pupil  of  the  school  of  the 
Pennsylvania  Academy  of  Fine  Arts,  Philadelphia,  and 
of  the  Academie  Julien  in  Paris.  Was  on  the  staff  of  the 
London  “Daily  Graphic”  as  pictorial  artist,  and  went  to 
the  front  in  the  Russian-Japanese  and  the  Boer  wars, 
whence  he  sent  many  illustrations.  On  his  return  took 
up  painting  the  sea,  and  to-day  is  identified  with  such 
pictures.  Medals  in  New  York  and  elsewhere,  and  repre- 
sented in  many  museums  and  private  collections. 

97 

GLOUCESTER  WAVE 

Lent  by  Mr.  and  Mrs.  Frank  G.  Logan,  Chicago. 

37' 


THE  TOLEDO  MUSEUM  OF  ART 


JULIAN  ALDEN  WEIR,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  West  Point,  N.  Y.  Pupil  of  his  father  and  of 
Gerome  at  Ecole  des  Beaux  Arts,  Paris.  One  of  a large 
artistic  family.  With  others,  helped  to  found  the  Society 
of  American  Artists.  Represented  in  many  museums. 
Member  of  The  Ten  American  Painters.  Many  medals, 
Paris  and  elsewhere. 

98 

SUMMER-TIME 

Lent  by  the  Artist. 

99 

PASTURE  BY  THE  POND 
Lent  by  the  Artist. 

100 

PAN  AND  THE  WOLF 
Lent  by  the  Artist. 


JAMES  McNEILL  WHISTLER 
BORN  1834.  DIED  1903 

Born  at  Lowell,  Mass.  Taken  as  a child  to  Russia,  his 
father  being  an  engineer  there.  Went  to  West  Point  as  a 
military  cadet,  but  left  before  graduating  to  go  abroad 
to  study,  having  for  a short  time  been  in  the  Government 

38 


ROSA  CORDER  BY  JAMES  MC  NEILL  WHISTLER 
LENT  BY  RICHARD  CANFIELD,  ESQ.,  NEW  YORK 


PART  I : AMERICAN  PAINTINGS 


Survey.  Studied  two  years  in  Paris  under  Gleyre.  Set- 
tled in  London,  where  he  spent  most  of  his  life,  and 
became  identified  with  that  city,  though  he  did  live  for  a 
while  in  Paris.  His  biting  sarcasm,  and  revolutionary 
notions  in  art,  in  London,  involved  him  in  many  con- 
troversies, and  his  great  talent  was  little  appreciated 
there.  It  was  reserved  for  the  French  first  to  recognize 
his  unusual  ability,  and  that  government  subsequently 
purchased  his  masterpiece,  a portrait  of  his  mother,  for 
the  Luxembourg  Museum.  In  London,  he  painted  many 
distinguished  men  and  women,  and  made  composition 
pictures  of  the  highest  order,  which  to-day  command 
almost  fabulous  prices.  As  an  etcher,  he  was  the  great- 
est since  Rembrandt,  having  been  equaled  by  no  one  of 
his  generation.  He  was  the  inspiration  of  what  is  known 
as  the  Glasgow  School  of  painters,  and  no  man  in  mod- 
ern art  had  such  a wide-spread  influence  on  his  contem- 
poraries. If  full  recognition  was  denied  him  during  his 
life,  since  his  death  his  talent  and  place  in  his  profession 
have  been  fully  acknowledged. 

101 

ROSA  CORDER 

Lent  by  Richard  Canfield,  Esq.,  New  York. 

102 

VERT  ET  OR— LE  RACONTEUR 
Lent  by  the  National  Gallery  of  Art,  Washington  (Freer 
Collection). 


39 


THE  TOLEDO  MUSEUM  OF  ART 


JAMES  McNEILL  WHISTLER— Continued 

103 

ROSE  AND  GOLD— THE  LITTLE  LADY  SOPHIE 

OF  SOHO 

104 

LITTLE  GREEN  CAP 

105 

LITTLE  FAUSTINA 

106 

GRAY  AND  SILVER— CHELSEA  EMBANKMENT 
(NOCTURNE) 

107 

TRAFALGAR  SQUARE,  CHELSEA  (NOCTURNE) 

108 

A NOTE  IN  BLUE  AND  OPAL— THE  SUN  CLOUD 

109 

GREEN  AND  GOLD— THE  GREAT  SEA 
Lent  by  the  National  Gallery  of  Art,  Washington  (Freer 
Collection). 


FREDERICK  BALLARD  WILLIAMS,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Brooklyn,  N.  Y.  Pupil  of  the  Cooper  Union  Art 
School  and  the  school  of  the  National  Academy  of  De- 
sign. Member  of  the  National  Academy  of  Design. 

40 


ROSE  AND  GOLD THE  LITTLE  LADY  SOPHIE  OF  SOHO 

BY  JAMES  NIC  NEILL  WHISTLER 
LENT  BY  THE  NATIONAL  GALLERY  OF  ART,  WASHINGTON 
( FREER  COLLECTION  ) 


PART  I : AMERICAN  PAINTINGS 


Represented  in  the  Metropolitan  Museum  of  Art,  New 
York,  and  National  Gallery  of  Art,  Washington. 

110 

A MOUNTAIN  GLEN 
Lent  by  William  Macbeth,  Esq.,  New  York. 


ALEXANDER  H.  WYANT,  N.  A. 

BORN  1836.  DIED  1892 

Born  in  Ohio.  Practically  self-taught.  Came  to  New 
York,  and  was  early  much  under  the  influence  of  George 
Inness,  with  whom,  and  with  Homer  D.  Martin,  his  name 
has  since  been  associated  as  making  the  great  trio  of 
American  landscape  painters.  Spent  some  time  in  Diis- 
seldorf.  Member  of  the  National  Academy  of  Design, 
and  one  of  the  founders  of  the  American  Water  Color 
Society. 

111 

ROCKY  LEDGE,  ADIRONDACKS 
Lent  by  William  Macbeth,  Esq.,  New  York. 

112 

EDGE  OF  THE  WOODS 
Lent  by  the  Art  Institute  of  Chicago. 


41 


PART  II 

AMERICAN 

SCULPTURE 


THE  ART  OF  SCULPTURE 
IN  AMERICA 

a UR  national  consciousness  early  sought  to  express 
I itself  by  the  grace  of  the  plastic  arts,  as  may  he 
seen  from  a study  of  our  National  Capitol, 
within  and  without,  from  gate  to  gable.  The  bronze 
doors,  with  their  wealth  of  anecdote,  and  the  stone  pedi- 
ments, with  their  dearth  of  art,  are  alike  in  their  blithe 
ignorance  as  to  the  real  message  of  Ghiberti  and  Phidias; 
yet  it  would  be  a superficial  student,  indeed,  who,  forget- 
ting early  conditions,  could  regard  these  works  with 
indifference  or  contempt. 

The  great  human  need  of  images  had  overtaken  us  at 
the  close  of  the  Revolution.  In  architecture  and  in  por- 
trait-painting we  had  a sound  tradition  brought  over  the 
seas  by  the  colonists;  but  in  sculpture,  no  such  ideal 
existed,  and  we  turned  to  France  and  Italy.  In  1785,  the 
State  of  Virginia  commissions  Houdon  to  make  a life- 
size  marble  statue  of  Washington.  In  1816,  the  State  of 
North  Carolina,  advised  by  Thomas  Jefferson,  accepts 
the  fact  that  there  is  neither  suitable  marble  nor  a suit- 

45 


THE  TOLEDO  MUSEUM  OF  ART 

able  sculptor  in  the  United  States,  and  selects  “old  Ca- 
nove  of  Rome”  to  make  for  its  Capitol  that  Capitoline 
necessity,  a statue  of  the  Father  of  his  Country. 

Our  first  native  sculptors  were  Greenough  and  Pow- 
ers, born  in  1805,  and  Crawford,  born  in  1813.  Green- 
ough’s  huge  marble  statue  of  Washington  as  the  Olym- 
pian Zeus,  designed  for  the  interior  of  the  Capitol,  but 
found  too  heavy  for  indoor  use,  created  a furor;  its 
“classick  stile,”  gallantly  defended  by  Edward  Everett, 
stirred  up  a storm  of  hostile  criticism  and  witticism. 
Powers’s  Greek  Slave,  completed  in  1843,  evoked  an  in- 
credible amount  of  discussion  in  ethics  as  well  as  es- 
thetics, a committee  of  clergymen  being  deputed  to  pass 
upon  its  moral  status.  Crawford’s  many  achievements 
included  important  work  for  the  Capitol, — bronze  doors, 
a pediment,  a colossal  figure  for  the  dome.  Greenough, 
Powers  and  Crawford,  like  many  who  came  after  them, 
did  most  of  their  work  in  Italy,  under  the  influence  of 
the  pseudo-classicism  of  Canova  and  Thorwaldsen,  an 
influence  not  wholly  withdrawn  from  our  art  until  that 
Great  Awakening,  the  Centennial  of  1876.  All  American 
sculpture  is  bounded  within  the  span  of  three  genera- 
tions; in  the  first  of  these,  the  pseudo-classic  tradition  is 
dominant,  in  the  second,  apparent;  in  the  third,  non- 
existent. 

The  virile  style  of  Houdon  scarcely  swayed  us  at  all 
in  our  beginnings.  Paris  was  not  then  the  world’s  great 
art  school,  while  Florence  and  Rome  were  veritable  hives 

46 


THE  ART  OF  SCULPTURE  IN  AMERICA 


of  industry  in  sculpture.  It  is  not  surprising  that  our 
early  sculptors  tied  to  Italy  to  live  and  work.  There 
were  few  casts  and  no  photographs  of  Old  World  mas- 
terpieces; marble  was  difficult  to  obtain  here;  bronze 
casting  was  practically  unknown  here  before  the  late 
forties. 

Henry  Kirke  Brown  and  John  Quincy  Adams  Ward 
are  two  men  who  stood  conspicuously  apart  from  the 
tendencies  of  the  mid-century.  The  equestrian  statue 
of  Washington  which  bears  their  signatures  as  master 
and  assistant  was  the  second  to  be  cast  in  the  United 
States,  and  remains  to-day  one  of  our  noblest  examples 
in  art.  Ward  was  a Colossus  who  bridged  two  periods. 
Refusing  to  become  either  a captain  of  the  Italian  band 
or  a follower  of  the  French  standards,  he  produced 
sound  American  sculpture  on  American  soil,  and  his 
wholesome  influence  lives  after  him. 

The  Civil  War  intensified  our  ancient  longing  for 
monuments,  and  even  stimulated  over-production  in  the 
plastic  arts.  Hero-worship,  ancestor-worship  and  killi- 
and-kin  worship  united  to  give  us  a desire  for  portraits 
in  bronze  or  marble.  Prosperity  outran  education,  and 
by  the  time  we  reached  our  Centennial  year,  we  had 
great  need  of  all  the  light  then  shed  upon  our  way.  Com- 
parisons, if  odious,  were  instructive.  The  modern 
French  school  of  sculpture,  with  vigorous  ideals  derived 
from  Italy’s  Renaissance  rather  than  from  her  deca- 
dence, began  to  attract  our  students.  Even  those  sculp- 

47 


THE  TOLEDO  MUSEUM  OF  ART 


tors  who  did  not  go  to  Paris  felt  the  stimulus  of  the  new 
movement;  the  world  at  large  noted  our  real  progress  in 
art  during  the  next  generation.  As  the  Centennial  of 
1876  had  helped  us  to  shake  off  the  shackles  of  a lifeless 
tradition  and  bestir  ourselves  toward  a higher  truth  and 
beauty  of  expression,  so  the  Columbian  Exposition  in 
1893  marked  the  beginning  of  yet  another  stage  of  our 
development.  At  that  time,  the  works  of  Saint-Gaudens, 
French  and  other  masters  gave  to  our  sculpture  an  im- 
portant place  in  the  history  of  art:  and  to-day,  in  every 
field  of  sculpture,  from  that  of  the  colossal  equestrian 
and  the  heroic  monument  to  that  of  the  intimate  por- 
trait relief  and  the  graciously  modeled  objet  d’art,  we 
can  point  to  American  sculptors  who  are  past  masters. 

American  sculpture  is  scarce  a century  old.  Its  whole 
story  may  be  told  in  two  chapters,  separated  by  the  year 
1876.  Our  national  life  is  English  in  its  main  tradition; 
and  since  the  Englishman  has  never  yet  been  the  world’s 
great  artist,  we  have  acquainted  ourselves  with  art  tradi- 
tions other  than  those  of  the  English-speaking  peoples. 
In  sculpture  and  its  auxiliary  processes,  many  men  of 
many  nations  are  working  here  together.  It  is  possible 
that  in  the  marvelous  fusion  of  tj^pes  now  taking  place 
on  American  soil,  we  shall  be  able,  in  our  sculpture  and 
in  our  painting,  to  make  a new  record  for  an  English- 
speaking  race. 

A.  A. 


48 


PORTRAIT  BUST  OF  PRESIDENT  TAFT 
BY  ROBERT  I.  A IT  KEN,  A.  N.  A. 

LENT  BY  THE  PRESIDENT  OF  THE  UNITED  STATES 


CATALOGUE 

OF 

A SELECTED  EXHIBITION  OF 
AMERICAN  SCULPTURE 

ARRANGED  RY  THE 
NATIONAL  SCULPTURE  SOCIETY 

HERBERT  ADAMS,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  West  Concord,  Mass.  Pupil  of  Mereie,  Paris. 
Vice-President  of  the  National  Academy  of  Design. 
Member  of  National  Sculpture  Society,  Architectural 
League,  New  York  Municipal  Art  Society  and  National 
Institute  of  Arts  and  Letters.  Medals,  Paris  and  else- 
where. 

113 

PORTRAIT  OF  A YOUNG  WOMAN 
Lent  by  the  Sculptor. 

ROBERT  I.  AITKEN,  A.  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  San  Francisco.  Pupil  of  Mark  Hopkins  Insti- 
tute. Member  of  National  Sculpture  Society  and  Archi- 

49 


THE  TOLEDO  MUSEUM  OF  ART 


tectural  League.  Winner  of  the  Helen  Barnett  Prize, 
National  Academy  of  Design. 

114 

PORTRAIT  BUST  OF  PRESIDENT  TAFT 
Lent  by  the  President  of  the  United  States. 

115 

THE  FLAME 

Lent  by  the  Sculptor. 

CHESTER  BEACH,  A.  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  San  Francisco.  Pupil  of  Verlet  and  Roland, 
Paris.  Member  of  National  Sculpture  Society  and  Archi- 
tectural League. 

116 

BACCHANTE 

Lent  by  the  Sculptor. 

SOLON  H.  BORGLUM,  A.  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Ogden,  Utah.  Pupil  of  Art  Academy,  Cincinnati, 
and  Fremiet,  Paris.  Member  of  National  Sculpture  So- 
ciety. Medals,  Paris,  Buffalo  and  St.  Louis. 

117 

SNOWDRIFT 

Lent  by  R.  R.  Moore,  Esq.,  New  York. 

50 


MAN  CUB  BY  A.  STIRLING  CALDER,  A.  N.  A. 

LENT  BY  THE  PENNSYLVANIA  ACADEMY  OF  FINE  ARTS 


PART  II  : AMERICAN  SCULPTURE 


VICTOR  DAVID  BRENNER 

CONTEMPORANEOUS  AMERICAN 

Born  at  Shavely,  Russia.  Pupil  of  Louis  Oscar  Roty. 
Member  of  National  Sculpture  Society  and  Architectural 
League.  Medals,  Paris,  Brussels,  St.  Louis  and  Buffalo. 

118 

COLLECTION  OF  MEDALS  AND  PLAQUES 
Lent  by  the  Sculptor. 

119 

WOMANHOOD 
Lent  by  the  Sculptor. 


EDITH  WOODMAN  BURROUGHS 

(MRS.  BRYSON  BURROUGHS) 
CONTEMPORANEOUS  AMERICAN 

Born  at  Riverdale,  N.  Y.  Pupil  of  Art  Students’  League 
and  of  Augustus  Saint-Gaudens,  also  of  Inglebeau  and 
Luc  Olivier  Merson  in  Paris.  Member  of  National  Sculp- 
ture Society. 

120 

VINE  LEAVES 

Lent  by  Tiffany  & Co.,  New  York. 

51 


THE  TOLEDO  MUSEUM  OF  ART 


ALEXANDER  STIRLING  CALDER,  A.  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Philadelphia.  Pupil  of  Chapu  and  Falguiere, 
Paris.  Member  of  National  Sculpture  Society;  Archi- 
tectural League;  Fellowship  of  the  Pennsylvania  Acad- 
emy of  Fine  Arts;  Instructor,  National  Academy  of  De- 
sign. 

4» 

121 

MAN-CUB 

Lent  by  the  Pennsylvania  Academy  of  Fine  Arts. 


CYRUS  DALLIN 

CONTEMPORANEOUS  AMERICAN 

Born  at  Springfield,  Utah.  Pupil  of  Chapu  and  Dampt, 
Paris.  Member  of  National  Sculpture  Society;  Architec- 
tural League;  Society  of  Arts,  London,  and  Copley  So- 
ciety, Boston.  Medals,  Paris,  New  York,  Chicago,  St. 
Louis,  and  elsewhere. 


122 

MEDICINEMAN 

Lent  by  Thomas  W.  Lawson,  Esq.,  Boston. 

52 


THE  MEDICINE  MAN  BY  CYRUS  E.  DALLIN 
LENT  BY  THOMAS  W.  LAWSON,  ESQ.,  BOSTON 


n 


PART  II  : AMERICAN  SCULPTURE 


ABASTENIA  ST.  LEGER  EBERLE 

CONTEMPORANEOUS  AMERICAN 

Born  in  Iowa.  Pupil  of  George  Grey  Barnard  and 
Gutzon  Borglum.  Member  of  National  Sculpture  So- 
ciety and  Woman’s  Art  Club. 

123 

RAGTIME 

Lent  by  the  Sculptor. 


JOHN  FLANAGAN,  A.  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Newark,  N.  J.  Pupil  of  Chapu  and  Falguiere, 
and  of  Ecole  des  Beaux  Arts,  Paris.  Member  of  National 
Sculpture  Society.  Medals,  Paris,  St.  Louis,  and  Buffalo. 

124 

HEAD  OF  A MAN 

Lent  by  Edward  G.  Kennedy,  Esq.,  New  York. 


DANIEL  CHESTER  FRENCH,  N.  A. 

CONTEMPORANEOUS  AMERICAN 


Born  at  Exeter,  N.  H.  Former  President  of  National 
Sculpture  Society  and  now  Honorary  President.  Mem- 

53 


THE  TOLEDO  MUSEUM  OF  ART 


ber  of  Accademia  San  Luca,  Rome;  National  Institute  of 
Arts  and  Letters;  Trustee  of  the  Metropolitan  Museum 
of  Art,  New  York;  Member  of  the  American  Institute  of 
Architects  and  Architectural  League. 

125 

ANGEL 

DETAIL  OF  CHAPMAN  MEMORIAL 

Lent  by  the  Sculptor. 


SHERRY  EDMUNDSON  FRY 

CONTEMPORANEOUS  AMERICAN 

Born  at  Creston,  Iowa.  Pupil  of  Chicago  Art  Institute, 
Ecole  des  Beaux  Arts,  Paris,  and  of  Frederick  MacMon- 
nies.  Medal,  Paris,  and  winner  of  the  Roman  Prize  of 
the  American  Academy,  in  1908. 

126 

FOUNTAIN 

Lent  by  the  Sculptor. 


JONATHAN  SCOTT  HARTLEY,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Albany,  N.  Y.  Studied  in  England,  Paris  and 
Rome.  Member  of  National  Sculpture  Society  and  Ar- 
chitectural League. 


54 


ANGEL DETAIL  OF  CHAPMAN  MEMORIAE 

BY  DANIEL  CHESTER  FRENCH,  N.  A. 
LENT  BY  THE  SCULPTOR 


PART  II  : AMERICAN  SCULPTURE 


JONATHAN  SCOTT  HARTLEY,  N.  A.— Continued 

127 

JOHN  GILBERT  AS  SIR  PETER  TEAZLE 
Lent  by  the  Sculptor. 


ELI  HARVEY 

CONTEMPORANEOUS  AMERICAN 

Born  at  Ogden,  Ohio.  Pupil  of  Academy  of  Art,  Cin- 
cinnati; of  Academie  Julien,  Paris;  and  of  Fremiet. 
Member  of  National  Sculpture  Society  and  Architectural 
League.  Medal  for  painting,  Paris.  Medals  for  sculp- 
ture, Paris,  St.  Louis  and  Buffalo. 

128 

MATERNAL  CARES 
Lent  by  the  Artist. 


CARL  AUGUSTUS  HEBER 

CONTEMPORANEOUS  AMERICAN 

Born  at  Stuttgart,  Germany.  Pupil  of  Lorado  Taft, 
Chicago.  Member  of  National  Sculpture  Society.  Medal, 
St.  Louis. 

129 

PASTORAL 


Lent  by  the  Sculptor. 


55 


THE  TOLEDO  MUSEUM  OF  ART 


ANNA  VAUGHN  HYATT 

CONTEMPORANEOUS  AMERICAN 

Born  at  Cambridge,  Mass.  Pupil  of  H.  H.  Kitson,  H.  A. 
MacNeil  and  Gutzon  Borglum.  Member  of  National 
Sculpture  Society,  Woman’s  Art  Club  and  Copley  So- 
ciety, Boston. 

130 

LIONESS 

Lent  by  the  Sculptor. 


CHABLES  KECK 

CONTEMPORANEOUS  AMERICAN 

131 

PORTRAIT  OF  ELIHU  VEDDER 
Lent  by  the  Sculptor. 


ISIDOR  KONTI,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Vienna,  Austria.  Pupil  of  Imperial  Academy, 
Vienna.  Member  of  National  Sculpture  Society  and 
Architectural  League.  Gold  medal,  St.  Louis. 

132 

GROUP  FOR  FOUNTAIN 
Lent  by  the  Sculptor. 


56 


GROUP  FOR  FOUNTAIN  BY  ISIDOR  KONTI 
LENT  BY  THE  SCULPTOR 


PART  II  : AMERICAN  SCULPTURE 


LEO  LENTELLI 

CONTEMPORANEOUS  AMERICAN 

Born  at  Bologna.  Studied  in  Rome.  Member  of  Na- 
tional Sculpture  Society  and  Architectural  League.  Win- 
ner of  Avery  Prize. 

133 

POBTBAIT  STATUETTE 
Lent  by  the  Sculptor. 


HENRY  LINDER 
BORN  1854.  DIED  1910 

Born  at  Brooklyn,  N.  Y.  Pupil  of  Professor  Knabl. 
Medal,  St.  Louis. 

134 

SHAMROCK 

Lent  by  Mrs.  Linder. 


EDWARD  F.  McCARTEN 

CONTEMPORANEOUS  AMERICAN 

Born  at  Albany,  N.  Y.  Pupil  of  the  Art  Students’  League, 
under  George  Grey  Barnard  and  Hermon  A.  MacNeil, 

57 


THE  TOLEDO  MUSEUM  OF  ART 


New  York,  and  afterward  at  the  Ecole  des  Beaux  Arts, 
Paris. 

135 

YOUTH 

Lent  by  the  Sculptor. 


FREDERICK  WILLIAM  MacMONNIES,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Brooklyn,  N.  Y.  Pupil  of  Saint-Gaudens  in  New 
York,  and  of  the  Ecole  des  Beaux  Arts,  Paris.  Chevalier 
of  the  Legion  of  Honor;  Chevalier  of  the  Order  of  St. 
Michael,  Bavaria.  Member  of  the  National  Institute  of 
Arts  and  Letters  and  Architectural  League.  Medals, 
Paris,  Antwerp,  Munich,  Buffalo,  and  Chicago.  Gold 
medal  for  painting,  Paris. 

136 

PAN 

Lent  by  Theodore  B.  Starr,  Escp,  New  York. 


CAROL  BROOKS  MacNEIL 

CONTEMPORANEOUS  AMERICAN 


Born  at  Chicago,  111.  Pupil  of  Lorado  Taft  and  MacMon- 
nies,  and  of  Injalbert,  in  Paris.  Member  of  National 

58 


PART  II  : AMERICAN  SCULPTURE 


Sculpture  Society  and  Woman’s  Art  Club.  Medal,  St. 
Louis. 

137 

THE  FIRST  LESSON 
Lent  by  the  Sculptor. 

HERMON  ATKINS  MacNEIL,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Horn  at  Everett,  Mass.  Pupil  of  Massachusetts  Normal 
School,  Boston,  and  of  Chapu  and  Falguiere,  in  Ecole  des 
Beaux  Arts,  Paris.  President  of  the  National  Sculpture 
Society.  Member  of  Architectural  League  and  New  York 
Municipal  Art  Society.  Medals,  Atlanta,  St.  Louis,  Buf- 
falo, and  Paris.  Winner  of  Rinehart  Roman  Scholar- 
ship. 

138 

SUN  VOW 

Lent  by  William  T.  Evans,  Esq.,  Montclair,  N.  J. 

PHILIP  MARTINY,  A.  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  in  Alsace,  Germany.  Pupil  of  Eugene  Dock, 
France,  and  of  Augustus  Saint-Gaudens,  New  York. 

139 

JERSEY  CITY  FIGURE 
Lent  by  the  Sculptor. 


59 


THE  TOLEDO  MUSEUM  OF  ART 


HELEN  FARNSWORTH  MEARS 

CONTEMPORANEOUS  AMERICAN 

Born  at  Oshkosh,  Wis.  Medals,  Chicago  and  St.  Louis. 
Member  of  National  Sculpture  Society. 

140 

PORTRAIT  RELIEF  OF 
AUGUSTUS  SAINT-GAUDENS 

Lent  by  the  Sculptor. 


ALLEN  G.  NEWMAN 

CONTEMPORANEOUS  AMERICAN 

Born  at  New  York.  Pupil  of  school  of  the  National 
Academy  of  Design  and  of  John  Q.  A.  Ward,  N.  A.  Mem- 
ber of  National  Sculpture  Society. 

141 

THE  HIKER 

Lent  by  the  Sculptor. 


CHARLES  HENRY  NIEHAUS,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Cincinnati,  Ohio.  Pupil  of  McMicken  School, 
Cincinnati,  and  of  Royal  Academy,  Munich.  Member  of 

60 


THE  SUN  VOW  BY  H.  A.  MAC  NEIL,  N.  A. 
LENT  BY  WILLIAM  T.  EVANS,  ESQ.,  MONTCLAIR 


PART  II  : AMERICAN  SCULPTURE 


National  Sculpture  Society  and  of  Architectural  League. 
Medals,  Chicago,  Buffalo  and  St.  Louis. 

142 

PORTRAIT  BUST  OF  J.  Q.  A.  WARD 
Lent  by  National  Sculpture  Society. 


ATTILIO  PICCIRILLI,  A.  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Massa,  Italy.  Member  of  National  Sculpture  So- 
ciety and  Architectural  League.  Medals,  Buffalo  and  St. 
Louis. 

143 

UN’  ANIMA 

Lent  by  the  Sculptor. 


FURIO  PICCIRILLI 

CONTEMPORANEOUS  AMERICAN 

Born  at  Massa,  Italy.  Member  of  National  Sculpture  So- 
ciety. Medal,  St.  Louis. 

144 

MATERNITY 


Lent  by  the  Sculptor. 


61 


THE  TOLEDO  MUSEUM  OF  ART 


ALEXANDER  PHIMISTER  PROCTOR,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Dorn  in  Canada.  Pupil  of  National  Academy  of  Design 
and  the  Art  Students’  League,  and  of  Puech  and  Injal- 
bert,  Paris.  Member  of  National  Sculpture  Society; 
American  Water  Color  Society;  Architectural  League. 
Medals,  Paris,  Chicago,  Buffalo,  and  St.  Louis  (for  water 
colors). 

145 

YOUNG  FAUN 
Lent  by  the  Sculptor. 


ARTHUR  PUTNAM 

CONTEMPORANEOUS  AMERICAN 

146 

PUMA 

Lent  by  William  Macbeth,  Esq.,  New  York. 


EDMOND  T.  QUINN 

CONTEMPORANEOUS  AMERICAN 

147 

BUST  OF  EDWIN  MARKHAM 
Lent  by  the  Sculptor. 


62 


PART  II  : AMERICAN  SCULPTURE 


FREDERICK  GEORGE  RICHARD  ROTH,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Brooklyn,  N.  Y.  Pupil  of  Hellmer  in  Vienna. 
Member  of  National  Sculpture  Society  and  Architectural 
League.  Medals,  St.  Louis  and  Buenos  Ayres. 

148 

POLAR  BEARS 
Lent  by  the  Sculptor. 


AUGUSTUS  SAINT-GAUDENS,  N.  A. 

BORN  1848.  DIED  1907 

Born  at  Dublin,  Ireland.  Came  here  as  an  infant.  Pupil 
of  Cooper  Union  Art  School  and  the  school  of  the  Na- 
tional Academy  of  Design;  also  of  Jouffroy  and  the 
Ecole  des  Beaux  Arts,  Paris.  Officer  of  the  Legion  of 
Honor,  and  corresponding  Membre  de  l’lnstitut,  France. 
Member  of  the  National  Institute  of  Arts  and  Letters. 
Member  of  the  Societe  des  Beaux  Arts,  and  medals  in 
many  places.  Grand  Prize  of  Honor,  Paris  Exposition, 
1900.  One  of  America’s  most  distinguished  artists. 

149 

THE  PURITAN 
Lent  by  Mrs.  Saint-Gaudens. 

63 


THE  TOLEDO  MUSEUM  OF  ART 


HANS  SCHULER 

CONTEMPORANEOUS  AMERICAN 

Born  in  Alsace-Lorraine.  Pupil  of  Raoul  Verlet,  Paris. 
Rinehart  Scholarship,  Baltimore,  1900.  Medals,  Paris 
and  St.  Louis.  Member  of  National  Sculpture  Society. 

150 

BUST  OF  CHILD 
Lent  by  the  Sculptor. 

JANET  SCUDDER 

CONTEMPORANEOUS  AMERICAN 

Born  at  Terre  Haute,  Ind.  Pupil  of  Rebisso,  Cincinnati, 
Lorado  Taft,  Chicago,  and  MacMonnies,  Paris.  Repre- 
sented in  Luxembourg  Museum,  Paris.  Member  of  Na- 
tional Sculpture  Society.  Represented  in  Congressional 
Library,  Washington,  and  in  museums  in  Indianapolis, 
New  York  and  Chicago. 

151 

FOUNTAIN 

Lent  by  the  Sculptor. 


BESSIE  POTTER  YONNOH,  A.  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  St.  Louis.  Pupil  of  Lorado  Taft,  Chicago.  Is 
identified  with  the  making  of  statuettes  in  the  manner 

64 


PART  II  : AMERICAN  SCULPTURE 


of  the  Tanagra  workers.  Member  of  National  Sculpture 
Society.  Medals,  St.  Louis,  Nashville  and  Paris. 

152 

GIRL  DANCING 
Lent  by  the  Sculptor. 


EDGAR  WALTER 

CONTEMPORANEOUS  AMERICAN 

Rorn  at  San  Francisco.  Pupil  of  Perrin,  Paris.  Hon- 
orable Mention,  Paris  Salon,  1901. 

153 

PRIMITIVE  MAN 
Lent  by  the  Sculptor. 


JOHN  QUINCY  ADAMS  WARD,  N.  A. 

BORN  1830.  DIED  1909 

Born  at  Urbana,  Ohio.  Pupil  of  H.  K.  Brown.  First 
President  of  the  National  Sculpture  Society  and  Hon- 
orary President  at  his  death.  Gold  Medal  at  St.  Louis 
Exposition  for  Distinguished  Services  to  Art. 

154 

WASHINGTON 


Lent  by  Mrs.  Ward. 


65 


THE  TOLEDO  MUSEUM  OF  ART 


OLIN  L.  WARNER 
BORN  1844.  DIED  1896 


Rorn  at  Suffield,  Conn.  Pupil  at  the  Ecole  des  Beaux 
Arts,  Paris,  and  later  under  Jouffroy,  Falguiere,  and 
Mercier,  afterward  becoming  an  assistant  of  Carpeaux. 
Fought  in  the  siege  of  Paris,  1871.  Among  his  works  are 
the  doors  for  the  Congressional  Library  at  Washington, 
D.  C. 


155 

INDIAN  HEADS 

Lent  by  Walter  P.  Fearon,  Esq.,  New  York. 


ADOLPH  ALEXANDER  WEINMAN,  N.  A. 

CONTEMPORANEOUS  AMERICAN 

Born  at  Karlsruhe,  Germany.  Pupil  of  Cooper  Union 
Art  School  and  the  Art  Students’  League,  and  of  Martiny, 
Niehaus,  Warner,  and  Saint-Gaudens.  Member  of  Na- 
tional Institute  of  Arts  and  Letters,  National  Sculpture 
Society  and  Architectural  League.  Medals,  St.  Louis  and 
Brussels. 

156 

FRAME  OF  MEDALS  AND  PORTRAIT  MEDALLIONS 
Lent  by  the  Sculptor. 


66 


PART  II  : AMERICAN  SCULPTURE 


MAHONRI  YOUNG 

CONTEMPORANEOUS  AMERICAN 

Born  at  Salt  Lake  City.  Pupil  of  the  Art  Students’ 
League,  New  York,  and  of  Academie  Julien,  Paris.  Mem- 
ber of  National  Sculpture  Society.  Medal,  Buenos  Ayres. 
Winner  of  the  Helen  Foster  Barnett  Prize,  National 
Academy  of  Design. 

157 

CARRYING  COAL 
Lent  by  the  Sculptor. 

158 

PORTRAIT  OF  ALFRED  H.  MAURER 
Lent  by  the  Sculptor. 


67 


TAPESTRIES 

IN  THE  SCULPTURE  COURT 


FRENCH  TAPESTRY— LOUIS  XIV  PANEL 
“the  gathering  of  the  muses” 


FLEMISH  TAPESTRY— XVII  CENTURY  PANEL 
“skating  scene” 


SMALL  MEDALLION— MODERN 

IN  THE  STYLE  OF  BOUCHER 


SMALL  MEDALLION— MODERN 

IN  THE  STYLE  OF  BOUCHER 


Lent  by  the  Estate  of  William  Baumgarten,  New  York. 


PART  III 

EUROPEAN 

PAINTINGS 


SPRING  BY  SIR  LAWRENCE  ALMA-TADEMA 
LENT  BY  THOMAS  F.  COLE,  ESQ.,  DULUTH 


CATALOGUE 

OF 

EUROPEAN  PAINTINGS 

SIR  LAWRENCE  ALMA-TADEMA,  R.  A. 

CONTEMPORANEOUS  BRITISH 

Born  at  Dronryp,  Friesland,  Holland,  and  educated  at 
the  schools  of  Leeuwarden,  where  he  developed  a very 
great  interest  in  Egyptian  and  Greco-Roman  archaeology, 
which  has  always  influenced  his  paintings.  Student  in 
art  at  the  Academy  in  Antwerp,  and  under  Baron  Henri 
Leys.  In  1870  lie  married  an  English  lady  and  settled 
in  London,  where  he  has  since  made  his  home  and 
where  he  has  become  a serious  part  of  Ihe  art  life  of  the 
English  metropolis.  Member  of  the  Royal  Academies 
of  London,  Munich,  Berlin,  Stockholm,  Madrid,  and 
Vienna.  Officer  of  the  Legion  of  Honor  and  of  many 
orders  of  knighthood.  Medals  of  all  sorts,  practically 
from  all  over  the  world,  and  one  of  the  most  popular  and 
acclaimed  of  living  painters. 

159 

SPRING 

Lent  by  Thomas  F.  Cole,  Esq.,  Duluth. 

71 


THE  TOLEDO  MUSEUM  OF  ART 


MARIE  ROSA  BONHEUR 
BORN  1822.  DIED  1899 

Born  at  Bordeaux.  Pupil  of  her  father.  Began  to  draw 
at  the  age  of  four.  At  twenty-five  she  received  a third- 
class  medal  at  the  Salon  in  Paris.  During  the  Franco- 
Prussian  war,  her  studio  was  respected  by  special  order 
of  the  Crown  Prince  of  Prussia.  One  of  the  few  women 
members  of  the  Legion  of  Honor.  Her  great  picture, 
“The  Horse  Fair,”  is  now  in  the  Metropolitan  Museum  of 
Art,  New  York.  She  was  given  many  medals  and  many 
foreign  orders.  Her  brother  Auguste  was  a distinguished 
animal  painter  as  well. 

160 

LION’S  HEAD 

Lent  by  Mr.  and  Mrs.  Frank  G.  Logan,  Chicago. 


WILLIAM  ADOLPHE  BOUGUEREAU 
BORN  1825.  DIED  1905 

Born  at  La  Rochelle,  France.  History  and  genre  painter. 
Pupil  of  the  Ecole  des  Beaux  Arts,  Paris,  where,  in  1850, 
he  won  the  Prix  de  Rome.  Member  of  the  Institute. 
Medals,  Paris,  Antwerp,  and  elsewhere.  Commander  of 
the  Legion  of  Honor  and  Knight  of  the  Order  of  Leopold. 

161 

THE  ORPHANS 

Lent  by  Miss  Stella  D.  Ford,  Detroit. 

72 


ARUNDEL  MILL  AND  CASTLE  BY  JOHN  CONSTABLE,  B. 


THE  SHEPHERDS’  STAR  BY  JULES  BRETON 
LENT  BY  ARTHUR  J.  SECOR,  ESQ.,  TOLEDO 


PART  III  : EUROPEAN  PAINTINGS 


JULES  ADOLPHE  BRETON 
BORN  1827.  DIED  1906 

Born  at  Courrieres,  Pas  de  Calais,  France.  Pupil  of 
Drolling  and  Devigne,  whose  daughter  he  married.  A 
painter  of  village  and  peasant  life,  of  enormous  popu- 
larity. Many  medals  in  France,  where,  in  1872,  he  re- 
ceived the  Medal  of  Honor  at  the  Salon,  and  elsewhere 
throughout  Europe.  Officer  of  the  Legion  of  Honor  and 
member  of  many  foreign  orders.  Represented  in  the 
Musee  of  the  Luxembourg,  Paris,  and  in  other  European 
and  American  museums,  and  a poet  as  well,  of  much 
merit.  A daughter,  Mme.  Dumont-Breton,  is  a distin- 
guished painter. 

162 

THE  SHEPHERDS’  STAR 
Lent  by  Arthur  J.  Secor,  Esq.,  Toledo. 


JEAN  CHARLES  CAZ1N 

BORN  1841.  DIED  1901 

Thoroughly  personal  and  original  in  his  color  schemes, 
Cazin  was  one  of  the  most  interesting  and  poetic  of 
modern  painters.  He  was  born  at  Samer,  Pas  de  Calais, 
France,  and  although  he  studied  for  a time  in  Paris,  he 
went  early  to  nature,  and  for  the  rest  of  his  life  worked 
conscientiously  in  the  open,  in  Normandy,  where  he  had 

73 


THE  TOLEDO  MUSEUM  OF  ART 


a beautiful  place.  His  first  picture  to  attract  attention 
was  a figure-piece,  “Hagar  and  Ishmael,”  but  it  was  with 
the  landscape  that  he  occupied  himself  ever  afterward, 
and  he  had  an  enormous  material  success  the  latter  part 
of  his  life.  He  received  many  medals  and  decorations, 
and  in  1893  he  visited  this  country,  where  he  held  an  ex- 
hibition that  was  bjr  no  means  an  unqualified  success. 
The  work  was  admirable,  but  the  New  York  public  was 
not  quite  prepared  to  accept  it.  Later,  however,  his 
popularity  here  knew  no  bounds,  and  to-day  examples 
are  difficult  to  secure. 


163 

THE  REPENTANCE  OF  PETER 

“and  he  went  out  and  wept  bitterly” 
Lent  bj7  Frank  W.  Gunsaulus,  D.D.,  Chicago. 


JOHN  CONSTABLE,  R.  A. 

BORN  1776.  DIED  1837 

The  son  of  a prosperous  miller  of  East  Bergholt,  Sus- 
sex, England,  Constable  was  born  in  that  town  and  was 
destined  for  the  church,  but  deciding  to  be  a painter,  he 
entered  the  schools  of  the  Royal  Academy  at  the  age  of 
twenty-four.  Remaining  there  but  a short  while,  he  re- 
turned to  his  home,  to  work  from  nature.  His  early 
recognition  came  from  France,  where  he  was  held  in 
great  estimation,  and  his  influence  on  the  Barbizon  men 

74 


THE  REPENTANCE  OF  PETER  RY  JEAN  CHARLES  CAZIN 
“and  he  went  out  and  wept  bitterly” 


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PART  III  : EUROPEAN  PAINTINGS 


was  undeniable.  He  was  finally  elected  to  the  Royal 
Academy,  and  to-day  is  considered  one  of  the  greatest 
landscape  painters  of  all  times. 

164 

ARUNDEL  MILL  AND  CASTLE 
Lent  by  Mr.  and  Mrs.  Edward  Drummond  Libbey, 
Toledo. 


JEAN  BAPTISTE  CAMILLE  COROT 
BORN  1796.  DIED  1874 

The  most  popular  of  modern  landscapists,  Corot  was  the 
son  of  a French  hairdresser,  in  the  rue  du  Bac,  Paris.  Ilis 
mother  was  a milliner  who,  under  the  first  Napoleon, 
became  court  modiste,  and  made  a fortune  in  a small 
way.  At  first  Corot  was  in  a linen-draper’s  establish- 
ment, but  finally,  though  not  without  great  opposition, 
was  permitted  to  study  art.  The  family  gave  him  an 
allowance  of  twenty  dollars  a month,  but  declined  to 
take  his  artistic  ambitions  seriously.  Not  until  he  re- 
ceived the  decoration  of  the  Legion  of  Honor  and  his 
success  was  assured,  did  the  parents  realize  the  distinc- 
tion of  their  son.  When  he  was  twenty-eight  he  made  a 
pilgrimage  to  Italy,  where  he  remained  several  years. 
The  story  of  his  life,  however,  is  a tranquil  one.  There 
were  no  exciting  episodes.  It  was  work,  work,  and 
again  work.  He  loved  painting  with  a passionate  devo- 

75 


THE  TOLEDO  MUSEUM  OF  ART 


tion,  having  no  other  waking  thought,  going  to  nature 
daily,  painting  diligently  and  getting  full  satisfaction 
therefrom.  When  people  began  to  buy  his  pictures,  he 
was  surprised,  delighted,  but  incredulous,  and  when  the 
money  came  pouring  in,  he  assisted  many  of  his  friends 
in  so  quiet  a way  that  the  source  was  rarely  suspected. 
Of  a tender,  affectionate  disposition,  utterly  free  from 
guile,  he  was  at  once  the  most  beloved  and  respected  of 
the  artists  of  his  time.  A fecund  worker,  he  left  behind 
him  an  enormous  number  of  canvases. 

165 

LA  CUE1LLETTE  A MORTEFONTAINE 
Lent  by  Miss  Stella  D.  Ford,  Detroit. 

166 

SHEPHERDS 
Lent  by  W.  K.  Bixby,  Esq.,  St.  Louis. 

167 

THE  RAVINE 

Lent  by  G.  A.  Stephens,  Esq.,  Moline,  111. 


ALEXANDRE  GABRIEL  DECAMPS 
BORN  1803.  DIED  1860 

Born  in  Paris.  Pupil  of  Abel  de  Pujol,  David  and  Ingres. 
Early  in  his  career,  he  broke  away  from  the  classical 
manner  of  his  masters  and  became  more  or  less  of  a 

76 


LA  CUEILLETTE  A MORTEFONTAINE 
BY  JEAN  BAPTISTE  CAMILLE  COROT 
LENT  BY  MISS  STELLA  I).  FORD,  DETROIT 


POOL  AT  THE  EDGE  OF  THE  FOREST  BY  NARCISSE  VIRGILE  DIAZ  I)E  LA  PENA 


PART  III  : EUROPEAN  PAINTINGS 


leader  of  the  new  Romantic  school  which  was  then,  in 
the  early  twenties,  in  the  process  of  formation.  A voy- 
age to  the  Orient  gave  him  a strong  predilection  for  the 
color  and  brilliancy  of  that  land,  and  afterward  he 
treated  such  themes  with  skill  and  power. 

168 

CONTRABANDISTS 
Lent  by  Henry  C.  Lytton,  Esq.,  Chicago. 


NARCISSE  VIRGILE  DIAZ  DE  LA  PENA 
BORN  1807.  DIED  1876 

The  Spanish  parents  of  this  painter  taking  refuge  from 
the  Revolution  across  the  Pyrenees  at  Bordeaux,  he  was 
born  there  and  brought  shortly  afterward  to  Paris  by  his 
mother,  who  had  become  a widow  in  the  meanwhile. 
Because  of  the  family  poverty,  the  lad  became  an  errand 
boy,  and  losing  his  leg  by  the  bite  of  a poisonous  insect, 
he  stumped  the  rest  of  his  life  on  but  one.  Early  he 
entered  the  Sevres  factory,  but  was  soon  discharged,  and 
managed  to  make  his  way  to  Fontainebleau,  having 
made  the  acquaintance  of  Rousseau.  Immediately  his 
landscapes  attracted  attention,  at  first  at  modest  sums, 
but  later  he  sold  them  at  good  prices,  and  he  filled  his 
studio  with  the  most  gorgeous  rugs  and  with  bric-a-brac, 

77 


THE  TOLEDO  MUSEUM  OF  ART 


of  which  he  was  inordinately  fond,  and  which  helped  to 
inspire  him  with  color  for  his  pictures.  These  he  turned 
out  in  enormous  quantities,  and  to-day  they  are  sought 
for  by  the  collector  and  command  substantial  sums.  A 
great  colorist,  an  original  worker  and  a man  with  a keen 
sense  of  the  pictorial,  he  remains  one  of  the  most  attrac- 
tive figures  of  the  famous  Barbizon  group. 

169 

THE  POOL  AT  THE  EDGE  OF  THE  FOREST 
Lent  by  J.  B.  Ford,  Esq.,  Detroit. 


JAN  FYT 

BORN  1609.  DIED  1661 

This  distinguished  Flemish  painter  and  etcher  was  born 
in  Antwerp,  and  became  a master  of  the  Guild  of  St. 
Luke  in  1629,  at  the  early  age  of  twenty.  He  made  a 
specialty  of  painting  animals,  particularly  dogs,  but  he 
is  identified  with  pictures  of  still  life,  in  which  he  is  not 
excelled. 

170 

DEAD  GAME 
Lent  by  F.  Ivleinberger,  Esq.,  Paris. 

THOMAS  GAINSBOBOUGH,  R.  A. 

BORN  1727.  DIED  1788 

It  was  a goldsmith,  to  whom  Gainsborough  was  appren- 
ticed, who  gave  him  his  first  lessons  in  drawing  and 

78 


DEAD  GAME  BY  JAN  FYT 
LENT  BY  F.  KLEINBERGER,  ESQ.,  PARIS 


VISCOUNT  LIGONIER  BY  THOMAS  GAINSBOROUGH,  R.  A. 
LENT  BY  HENRY  E.  HUNTINGTON,  ESQ.,  NEW  YORK 


VISCOUNTESS  LIGONIER  BY  THOMAS  GAINSBOROUGH,  R.  A. 
LENT  BY  HENRY  E.  HUNTINGTON,  ESQ.,  NEW  YORK 


THE  MARKET  CART  BY  THOMAS  GAINSBOROUGH,  R.  A. 
LENT  BY  J.  B.  FORD,  ESQ.,  DETROIT 


PART  III  : EUROPEAN  PAINTINGS 


procured  him  admission  to  St.  Martin’s  Lane  Academy. 
The  artist  was  born  at  Sudbury,  in  Suffolk.  After  finish- 
ing his  student  work  he  had  great  difficulty  in  obtaining 
commissions  until  he  went  to  the  then  fashionable  wa- 
tering-place of  Bath,  where  he  at  once  became  the  mode. 
After  this  he  removed  to  London,  where  he  became  a 
rival  of  Sir  Joshua  Reynolds,  and  all  fashionable  London 
sat  to  him.  Gainsborough,  who  was  one  of  the  masters 
of  all  time,  painted  the  landscape  as  well,  and  fortu- 
nately enjoyed  during  his  lifetime  the  greatest  success 
artistically  and  materially,  lacking  no  recognition  and 
receiving  the  patronage  of  royalty  and  the  leading  men 
of  his  day. 

171 

LADY  PETRE 

172 

VISCOUNT  LIGONIER 

173 

VISCOUNTESS  LIGONIER 
Lent  by  Henry  E.  Huntington,  Esq.,  New  York. 

174 

THE  MARKET  CART 
Lent  by  J.  B.  Ford,  Esq.,  Detroit. 

175 

PETER  BURRELL— FIRST  LORD  GWYDYR 
Lent  by  the  Owner. 


79 


THE  TOLEDO  MUSEUM  OF  ART 


GRECO,  EL 

(DOMENICO  THEOTOCOPULl) 

BORN  ABOUT  1548.  DIED  1625 

Said  to  have  been  born  in  Venice,  of  Greek  parents.  He 
studied  in  Venice  under  Titian  and  settled  at  Toledo 
about  1577.  His  first  important  work  was  an  altarpiece 
in  the  sacristy  of  the  Cathedral,  much  in  the  manner  of 
Titian.  Philip  II  called  him  to  Madrid  to  paint  at  the 
Escorial.  In  later  years  he  completely  changed  his  man- 
ner and  painted  many  portraits. 

176 

SAINT  JEROME 

Lent  by  Henry  C.  Frick,  Esq.,  New  York. 


JEAN  BAPTISTE  GREUZE 
BORN  1725.  DIED  1805 

This  distinguished  portrait  painter,  born  at  Saone-et- 
Loire,  France,  painted  genre  as  well.  He  made  a fortune 
by  his  brush,  but  lost  it  (hiring  the  French  Revolution, 
and  having  a disagreement  with  the  Academy,  declined 
for  a long  while  to  exhibit  there.  When  he  did,  he  found 
an  indifferent  public  more  interested  in  the  new  classical 
school  of  David,  and  his  last  years  were  passed  in  misery 
and  regret,  an  unhappy  marriage  adding  to  his  cares. 

80 


PETER  BURRELL,  FIRST  LORD  GWYDYR 
BY  THOMAS  GAINSBOROUGH,  R.  A. 
LENT  BY  THE  OWNER 


ST.  JEROME  BY  EL  GRECO  ( DOMENICO  THEOTOCOPULl) 
LENT  BY  H.  C.  FRICK,  ESQ.,  NEW  YORK 


PORTRAIT  OF  MADEMOISELLE  GREUZE  BY  J.  R.  GREUZE 
LENT  BY  MRS.  H.  N.  TORREY,  DETROIT 


BOY  PLAYING  A FLUTE  BY  FRANZ  HALS 
LENT  BY  AIR.  AND  MRS.  EDWARD  DRUMMOND  LIBBEY, 

TOLEDO 


PART  III  : EUROPEAN  PAINTINGS 


He  painted  the  great  Napoleon  as  First  Consul,  Mme.  de 
Pompadour  and  others,  and  his  “Broken  Pitcher”  is  one 
of  the  world’s  famous  pictures,  having  been  reproduced 
in  many  mediums. 

177 

PORTRAIT  OF  MADEMOISELLE  GREUZE 
Lent  by  Mrs.  H,  N.  Torrey,  Detroit. 


FRANZ  HALS 

BORN  ABOUT  1580.  DIED  1666 

Known  as  the  painter’s  painter  because  of  his  marvelous 
virtuosity  with  his  brush.  Said  to  have  been  a pupil  of 
Karel  van  Mander  and,  though  this  is  doubtful,  of 
Rubens  also.  A man  of  dissipated  habits,  who,  despite 
the  irregularity  of  his  life,  was  a wonderful  producer, 
and  who  had  some  very  distinguished  pupils.  Five  of 
his  sons  were  artists.  He  is  numerously  represented  in 
galleries  all  over  Europe,  and  is  considered  one  of 
the  masters  of  all  times  in  the  handling  of  his  pigment 
and  the  astonishing  fluency  of  his  brushwork.  He 
passed  practically  all  of  his  life  at  Haarlem,  in  Holland, 
where  there  is  the  greatest  collection  of  his  works. 

178 

BOY  PLAYING  A FLUTE 

Lent  by  Mr.  and  Mrs.  Edward  Drummond  Libbey, 
Toledo. 


81 


THE  TOLEDO  MUSEUM  OF  ART 


CHARLES  EMILE  JACQUE 
BORN  1813.  DIED  1894 

A Parisian  by  birth,  this  artist  was  in  early  life  appren- 
ticed to  a map-engraver.  Later  he  took  up  wood-engrav- 
ing, then  etching,  in  which  direction  he  made  a great 
success,  and  finally,  in  1845,  he  began  to  paint,  intro- 
ducing into  his  fine  rich  landscapes  animals,  particularly 
sheep,  but  often  fowl.  Of  the  latter  he  was  an  enthusi- 
astic fancier.  He  is,  however,  identified  with  pictures  of 
sheep,  and  these  have  an  equal  importance  with  his  land- 
scapes, which  are  very  fine.  He  was  the  last  survivor  of 
the  Barbizon  brotherhood. 

179 

LANDSCAPE  WITH  SHEEP 
Lent  by  G.  A.  Stephens,  Esq.,  Moline,  111. 

180 

THE  FLOCK 
Lent  by  Miss  Stella  D.  Ford,  Detroit. 


MARIE  LOUISE  ELISABETH  LE  BRUN,  NEE  VIGEE 
BORN  1755.  DIED  1842 

The  daughter  of  a portrait  painter,  a pupil  of  Joseph 
Vernet  and  others,  at  Hie  age  of  sixteen  Mme.  Le  Brim 
had  painted  many  portraits.  During  her  life  she  was 

82 


LANDSCAPE  WITH  SHEEP  BY  CHARLES  EMILE  JACQUE 
LENT  BY  G.  A.  STEPHENS,  ESQ.,  MOLINE 


PORTRAIT  OF  THE  COUNTESS  I)E  CH  ATEN  AY 
BY  MME.  VIGEE  LE  BRUN 
LENT  BY  MRS.  H.  N.  TORREY,  DETROIT 


PART  III  : EUROPEAN  PAINTINGS 


said  to  have  executed  no  less  than  662.  She  was  a mem- 
ber of  the  Academy  of  St.  Luke,  of  the  French  Academy, 
and  an  associate  member  of  the  Academies  of  Bologna, 
Parma,  Berlin,  St.  Petersburg,  Copenhagen,  and  Geneva. 
Among  other  sitters,  she  had  Lady  Hamilton,  whom  she 
painted  at  Naples  as  a Bacchante.  At  eighty  years  of  age 
she  is  said  to  have  painted  an  admirable  portrait  of  her 
niece.  One  of  her  famous  portraits  was  of  Mme.  de 
Stael. 


181 

COUNTESS  OF  CHATENAY 
Lent  by  Mrs.  H.  N.  Torrey,  Detroit. 


LEON  AUGUSTIN  LHERMITTE 
BORN  1814.  CONTEMPORANEOUS 

Born  at  Mont-Saint-Pere,  France.  Pupil  of  Lecoq  de 
Boisbaudran.  Member  of  the  Legion  of  Honor,  France, 
and  Knight  of  St.  Michael,  of  Bavaria.  Medals,  Second 
and  Third  Class,  and  Medal  of  Honor,  Exposition  Uni- 
verselle,  Paris,  1889.  A distinguished  worker  in  pastel 
as  well  as  in  oils. 

182 

HARVEST  TIME 

Lent  by  William  0.  Goodman,  Esq.,  Chicago. 

83 


THE  TOLEDO  MUSEUM  OF  ART 

EDOUARD  MANET 
BORN  1833.  DIED  1883 

Born  in  Paris.  Pupil  for  six  years  of  Thomas  Couture. 
Very  revolutionary  in  his  methods  and  wayward  in  the 
treatment  of  the  themes  he  chose  with  unconventional 
viewpoint,  it  was  not  long  before  he  had  the  whole  criti- 
cal art  world  arrayed  against  him.  He  is  known  as  the 
founder  of  the  Impressionist  School,  which  is  not  quite 
just,  for  to-day  his  works  seem  totally  unlike  those  of 
the  Impressionists.  Attracted  by  the  manner  of  Franz 
Hals,  seeing  everything  in  a large  manner,  he  sought  the 
general  effect  and  troubled  himself  little  with  details. 
His  place  in  art  to-day  is  assured,  however,  and  he  left  a 
large  following,  having  a strong  influence  on  the  men 
who  came  after.  Many  of  the  choicest  examples  of  his 
work  are  owned  in  this  country,  the  Metropolitan  Mu- 
seum of  Art  in  New  York  possessing  several. 

183 

THE  BULL-FIGHT 
Lent  by  Martin  Ryerson,  Esq.,  Chicago. 


JACOB  MARIS 
BORN  1837.  DIED  1899 


The  eldest  of  three  brothers,  all  painters,  was  born  at 
The  Hague.  He  studied  at  Paris  with  Hebert  and  be- 

84 


TI1E  BULL-FIGHT  BY  EDOUARD  MANET 
LENT  BY  MARTIN  RYERSON,  ESQ.,  CHICAGO 


A STORMY  DAY  BY  JACOB  MARIS 


AMSTERDAM  BY  JACOB  MARIS 
LENT  BY  HENRY  C.  LYTTON,  ESQ.,  CHICAGO 


PART  III  : EUROPEAN  PAINTINGS 


came  one  of  the  great  painters  of  his  time.  Landscapes 
were  his  specialty  and  he  painted  the  sea-shore  as  well. 
His  pictures  are  in  demand  by  the  collectors,  those  in 
America  having  amassed  many  examples. 

184 

AMSTERDAM 

Lent  by  Henry  C.  Lytton,  Esq.,  Chicago. 

185 

A STORMY  DAY 

Lent  by  G.  A.  Stephens,  Esq.,  Moline,  111. 


MATTHEW  MARIS 

BORN  1835 

One  of  three  artistic  brothers  born  at  The  Hague.  He 
was  a pupil  of  Baron  Leys  at  the  Antwerp  Academy,  and 
of  Hamon,  in  Paris.  He  went  to  England  to  live,  where 
he  found  a great  patronage,  and  has  remained  there 
ever  since,  most  of  his  work  being  in  the  hands  of  Eng- 
lish collectors. 


186 

A FANTASY 

Lent  by  Mrs.  Nathaniel  French,  Davenport,  la. 

85 


THE  TOLEDO  MUSEUM  OF  ART 


ANTON  MAUVE 

BORN  1838.  DIED  1888 

Born  at  Zaandam.  Pupil  of  Pieter  Frederick  van  Os. 
Member  of  the  Dutch  Society  of  Arts  and  Sciences  and 
the  Societe  des  Aquarillistes  Beiges.  Knight  of  the  Order 
of  Leopold.  Medals,  Paris,  Amsterdam,  Vienna,  Ant- 
werp, and  elsewhere.  Represented  at  The  Hague, 
Amsterdam,  and  elsewhere  and  a favorite  with  the 
American  collector.  One  of  the  great  modern  Dutch- 
men, whose  fame  has  increased  with  the  years,  his  work 
being  eagerly  sought  after. 


187 

SHEEP  ON  THE  DUNES 

Lent  by  Mr.  and  Mrs.  Edward  Drummond  Libbey, 
Toledo. 


188 

SHEEP  AT  LAREN 
Lent  by  Mrs.  H.  N.  Torrey,  Detroit. 

189 

GOING  TO  PASTURE 
Lent  by  Miss  Stella  D.  Ford,  Detroit. 

190 

PLOWING 

Lent  by  Ralph  Cudney,  Esq.,  Chicago. 

86 


LENT  BY  MR.  AND  MRS.  EDWARD  DRUMMOND  LIBBEY,  TOLEDO 


GOING  TO  PASTURE  BY  ANTON  MAUVE 


LENT  BY  MRS.  H.  N.  TORREY,  DETROIT 


PLOWING  BY  ANTON  MAUVE 
LENT  BY  RALPH  CUDNEY,  ESQ.,  CHICAGO 


PART  III  : EUROPEAN  PAINTINGS 


JEAN  FRANCOIS  MILLET 

BORN  1814.  DIED  1875 

One  of  the  most  famous  of  all  the  modern  Frenchmen, 
enjoying  a great  popularity  and  known  the  world  over 
by  the  reproductions  of  his  work,  Millet  was  the  son  of  a 
peasant  and  a peasant  himself.  He  was  born  at  Cher- 
bourg, and  when  old  enough  was  put  to  farm  work.  The 
town  raised  a purse  for  him  and  he  was  sent  to  Paris, 
where  he  entered  the  studio  of  Delaroehe.  After  strug- 
gles in  Paris  and  great  poverty,  he  joined  the  colony  at 
Barbizon  when  he  was  thirty-five  years  of  age,  and  there 
he  remained  till  his  death.  It  was  not  until  the  end  of 
his  life  that  he  began  at  all  to  sell  his  work  at  anything 
like  remunerative  prices.  Since  his  death,  however,  his 
pictures  have  brought  extraordinary  figures,  and  some 
of  these  have  become  world-famous.  He  painted  epi- 
sodes in  the  life  of  the  country  people  about  him,  the 
farmer,  the  shepherd,  the  laborer,  and  all  these  have 
about  them  elemental  qualities  that  smack  of  the  soil, 
that  appeal  to  the  heart,  and  that  are  among  the  epics  in 
a pictorial  way  of  the  man’s  time. 

191 

THE  PIG-KILLERS 

192 

SHEEP-SHEARING 

Lent  by  E.  S.  Burke,  Jr.,  Esq.,  Cleveland. 

87 


THE  TOLEDO  MUSEUM  OF  ART 


JEAN  FRANCOIS  MILLET — Continued 

193 

LABORER  RESTING 

194 

SHEPHERDESS 

Lent  by  E.  S.  Burke,  Jr.,  Esq.,  Cleveland. 

195 

THE  GOOSE-GIRL 
Lent  by  Mrs.  H.  N.  Torrey,  Detroit. 


CLAUDE  MONET 

CONTEMPORANEOUS  FRENCH 

Born  at  Paris,  in  1824.  Pupil  of  Gleyre,  in  that  city,  for 
one  month  only,  after  which  he  revolted  and  went  his 
own  unaided  way.  The  years  1865  and  1866  found  him 
with  pictures  well  hung  in  the  Salon,  after  which  he  was 
regularly  refused  until  he  finally  abandoned  subsequent 
attempts.  He  became  very  radical,  and  began  a method 
of  painting  in  touches  of  pure  color,  endeavoring  to  se- 
cure the  brilliancy  and  diffusion  of  light,  and  became 
highly  successful  in  this  direction.  But  the  public,  ever 
skeptical  of  innovators,  declined  to  take  these  efforts 
seriously.  Finally,  the  Paris  dealer,  Durand-Ruel,  came 
to  his  rescue  and,  realizing  the  man’s  originality  and 

88 


SHEEP-SHEARING  BY  JEAN  FRANCOIS  MILLET 


LABORER  RESTING  BY  JEAN  FRANCOIS  MILLET 
LENT  BY  E.  S.  BURKE,  JR.,  ESQ.,  CLEVELAND 


SHEPHERDESS  BY  JEAN  FRANCOIS  MILLET 
LENT  BY  E.  S.  BURKE,  JR.,  ESQ.,  CLEVELAND 


THE  GOOSE  GIRL  BY  JEAN  FRANCOIS  MILLET 
LENT  BY  MRS.  PI.  N.  TORREY,  DETROIT 


PART  III  : EUROPEAN  PAINTINGS 


talent,  became  his  patron,  with  the  result  that  slowly  the 
collector  was  made  to  comprehend  the  artist’s  charm 
and  mastery.  To-day  Monet  is  fully  appreciated,  and 
has  had  an  enormous  effect  on  the  entire  artistic  world. 
By  reason  of  him,  men  paint  now  in  a higher  key,  find 
greater  variety  of  color  and  vibrancy  in  nature  out  of 
doors.  Monet’s  success  is  of  the  first  order.  There  is 
scarcely  a modern  collection  that  does  not  contain  an 
example  of  his  work. 

196 

COAST-GUARD’S  HUT 
Lent  by  Messrs.  Durand-Ruel,  New  York. 


JACOB  OCHTERVELT 
DIED  BEFORE  1710 

Born  at  Rotterdam  and  flourished  there  in  the  second 
half  of  the  seventeenth  century.  Presumed  to  have  been 
a pupil  of  Frans  van  Mieris.  He  is  further  believed  to 
have  frequented  the  studio  of  Berchem.  He  was  ob- 
viously influenced  by  Metsu  and  Terburg,  and  is  men- 
tioned as  a member  of  the  Rotterdam  Guild,  in  1667-72. 
A genre  painter  of  distinction. 

197 

THE  MUSICIANS 

Lent  by  Martin  Ryerson,  Esq.,  Chicago. 

89 


THE  TOLEDO  MUSEUM  OF  ART 


JAN  PREVOST 
BORN DIED  1529 

A Flemish  historical  painter  who  settled  in  Bruges  about 
1493.  He  was  a native  of  Mons,  and  was  admitted  into 
the  Guild  of  St.  Luke,  of  which  he  became  dean.  One 
of  his  great  pictures,  “The  Last  Judgment,”  is  in  the 
Academy  at  Bruges.  It  is  possible  that  he  was  identical 
with  a certain  Jennin  Prevost,  who  was  known  to  have 
worked  at  Bruges  as  early  as  1468. 

198 

pietA 

Lent  by  F.  Kleinberger,  Esq.,  Paris. 


SIR  HENRY  RAEBURN,  R.  A. 

BORN  1756.  DIED  1823 

Born  near  Edinburgh,  and  the  son  of  a prosperous 
manufacturer,  Raeburn  never  in  his  life  had  any  of  the 
financial  difficulties  that  beset  so  many  of  his  craft.  He 
was  one  of  the  great  group  of  portraitists  of  the  Georgian 
epoch,  and  was  named  King’s  Limner  for  Scotland, 
where  he  lived  most  of  his  life.  His  likenesses  of  Scot- 
land’s great  soldiers,  lawyers,  judges,  men  of  affairs,  and 

90 


pp 


PIET  A BY  JAN  PREVOST 
LENT  BY  I-.  KLEIN  BERBER,  ESQ.,  PARIS 


LADY  JANET  TRAILL  BY  SIR  HENRY  RAEBURN 
LENT  BY  MR.  AND  MRS.  EDWARD  DRUMMOND  LIBBEY,  TOLEDO 


PART  III  : EUROPEAN  PAINTINGS 


their  womenkind,  are  true  records  of  the  race,  wonder- 
ful presentments,  which  to-day  are  justly  considered 
among  the  great  portraits  of  all  time. 

199 

LADY  JANET  TRAILL 
Lent  by  the  Owner. 


REMBRANDT  HARMENSZ  VAN  RIJN 
(known  as  remrrandt) 

BORN  1607.  DIED  1669 

The  son  of  a prosperous  miller,  he  was  early  placed  with 
good  masters,  and,  leaving  his  native  town  of  Leyden, 
went  to  Amsterdam,  where  he  entered  the  studio  of 
Pieter  Lastman.  Later  he  returned  to  Leyden  for  a few 
years,  but  he  made  Amsterdam  his  home.  He  was  the 
greatest  artistic  individuality  of  the  seventeenth  century, 
excelling  in  every  branch  of  painting  to  which  he  se- 
riously turned  his  hand,  yet  late  in  life  his  vogue  fell  off 
and  he  was  sold  out  for  debt  and  passed  a sad  old  age. 
The  history  of  art  contains,  however,  no  greater  name, 
and,  after  he  had  passed  away,  the  pictures  which  had 
found  only  an  indifferent  clientele  became  most  valu- 
able. His  fame  has  increased  with  the  years,  until  to- 

91 


THE  TOLEDO  MUSEUM  OF  ART 


day  the  merest  scrap  from  his  hands  possesses  an  almost 
fabulous  value. 

200 

PORTRAIT  OF  HIMSELF 

Lent  by  Mr.  and  Mrs.  Edward  Drummond  Libbey, 
Toledo. 


PIERRE  AUGUSTE  RENOIR 

CONTEMPORANEOUS  FRENCH 

Rorn  at  Limoges,  France.  Working  first  in  a porcelain 
factory  at  Limoges,  he  added  to  his  income  by  making 
decorations  for  cafes  until  he  obtained  money  enough  to 
take  him  to  Paris  to  study.  There  he  entered  the  studio 
of  Gleyre,  along  with  Sisley,  remaining  four  years.  His 
picture  of  “The  Woman  in  White”  at  the  Salon  of  1868 
aroused  hostility,  and  he  was  not  admitted  again  until 
1880.  A follower  and  friend  of  Monet,  and  one  of  the 
most  notable  of  the  group  of  Impressionists. 

201 

LITTLE  GIRL  SKIPPING  THE  ROPE 
Lent  by  Messrs.  Durand-Ruel,  New  York. 


SIR  JOSHUA  REYNOLDS,  P.  R.  A. 

BORN  1723.  DIED  1792 

The  first  President  of  the  Royal  Academy  of  Arts  in  Lon- 
don, Reynolds  was  born  at  Plymouth  and,  at  the  age  of 

92 


PORTRAIT  OF  HIMSELF  BY  REMBRANDT 
LENT  BY  AIR.  AND  AIRS.  EDWARD  DRUAIMOND  LIRBIW,  TOLEDO 


.--issiifc'joMa'i 


THE  MARQUIS  OF  GRANBY  BY  SIR  JOSHUA  REYNOLDS,  P.  R.  A 
LENT  BY  THE  OWNER 


PORTRAIT  OF  THOMAS  GROVE  BY  GEORGE  ROMNEY 
LENT  BY  J.  B.  FORD,  ESQ.,  DETROIT 


CAROLINE,  VISCOUNTESS  CLIFDEN  AND  HER  SISTER 
LADY  ELIZABETH  SPENCER 
BA"  GEORGE  ROMNEY 


LENT  BY  HENRY  E.  HUNTINGTON,  ESQ.,  NEW  YORK 


PART  III  : EUROPEAN  PAINTINGS 


eighteen,  was  sent  to  London  to  study  under  the  then 
fashionable  portrait  painter,  Hudson,  whose  greatest 
claim  to  fame,  after  all,  was  that  he  was  Reynolds’s  mas- 
ter. Admiral  Keppel  took  the  artist  with  him  on  a war- 
ship to  the  Mediterranean  and  from  there  Reynolds  went 
to  Rome,  where  he  studied  two  years.  On  his  return  to 
London  he  became  at  once  distinguished  and  his  studio 
was  besieged  by  sitters.  He  was  the  intimate  of  Gold- 
smith, Dr.  Johnson  and  other  literary  and  artistic  lights, 
and  he  never  married,  maintaining  an  establishment 
where  the  choice  wits  and  men  of  genius  of  London 
gathered  daily.  An  indefatigable  worker,  he  left  an 
enormous  number  of  pictures  and  painted  in  his  day 
many  of  the  prominent  people,  socially  and  artistically, 
including  the  King  and  the  royal  family. 

202 

THE  MARQUIS  OF  GRANRY 
Lent  by  the  Owner. 

GEORGE  ROMNEY 
BORN  1734.  DIED  1802 

Practically  self-taught,  a musician  as  well  as  a man  with 
a considerable  smattering  of  mechanics,  Romney  had  a 
romantic  and  curious  history,  his  name  being  associated 
with  Emma,  Lady  Hamilton,  whom  he  painted  many 
times  and  with  whom  he  was  deeply  in  love.  He  had 

93 


THE  TOLEDO  MUSEUM  OF  ART 


made  an  unfortunate  marriage  and  left  his  wife  to  go  to 
London  to  set  up  as  a portrait  painter,  where  he  was  to 
struggle  with  misfortune  and  lack  of  recognition,  ill 
health  and  an  obviously  morbid  temperament.  Later 
he  had  success  in  a financial  way  and  divided  the  fashion 
with  Sir  Joshua  Reynolds.  His  fame  has  increased  with 
the  years  and  his  place  in  art  is  now  secure.  Many  of  his 
canvases  have  found  their  way  to  this  country. 

203 

PORTRAIT  OF  THOMAS  GROVE 
Lent  by  J.  R.  Ford,  Esq.,  Detroit. 

204 

CAROLINE,  VISCOUNTESS  CLIFDEN  AND  HER 
SISTER  LADY  ELIZABETH  SPENCER 

Lent  by  Henry  E.  Huntington,  Esq.,  New  York. 


GABRIEL  CHARLES  DANTE  ROSSETTI 
BORN  1828.  DIED  1882 

English,  the  son  of  a famous  Italian  patriot,  Rossetti  was 
born  in  London  and  educated  in  the  Royal  Academy 
schools,  which  he  left  to  go  into  the  studio  of  Ford 
Madox  Brown.  With  his  friend  John  Everett  Millais,  he 
joined  the  Pre-Raphaelite  Brotherhood.  He  is  quite  as 

94 


BEATA  BEATRIX  BY  GABRIEL  CHARLES  DANTE  ROSSETTI 
LENT  BY  CHARLES  L.  HUTCHINSON,  ESQ.,  CHICAGO 


LE  DORMOIR— FORET  DE  FONTAINEBLEAU  BY  THEODORE  ROUSSEAET 


PART  III  : EUROPEAN  PAINTINGS 


well  known  as  a poet,  volumes  of  his  work  in  this  direc- 
tion having  appeared,  and  for  years  he  was  a prominent 
figure  in  the  art  life  of  London. 


205 

BEATA  BEATRIX 

Lent  by  Charles  L.  Hutchinson,  Escp,  Chicago. 


THEODORE  ROUSSEAU 

BORN  1812.  DIED  18G7 

One  of  the  world’s  great  men  in  landscape  art,  Rous- 
seau was  the  son  of  a Paris  tailor,  and,  with  a taste  for 
mathematics,  he  aimed  at  becoming  a pupil  of  the  Ecole 
Polytechnique.  In  spite  of  this,  however,  he  turned  his 
attention  to  art,  and  was  so  disappointed  when  he  failed 
in  the  competition  for  the  Prix  de  Rome,  that  he  shook 
the  dust  of  the  Academic  from  his  feet  and  fled  to  the 
country  to  study  nature  out  of  doors.  He  succeeded 
beyond  his  expectations,  but  it  took  the  public  a long 
while  fully  to  appreciate  his  greatness.  He  knew  years 
of  penury,  and  for  long  the  doors  of  the  Salon  were 
closed  to  him.  The  men  who  worked  with  him  knew  his 
greatness,  nevertheless,  and  Corot  helped  him  with 
money,  buying  his  pictures  when  the  world  refused 
them.  II  is  said  he  died  of  a broken  heart  at  the  refusal 

95 


THE  TOLEDO  MUSEUM  OF  ART 


of  official  recognition,  but  to-day  his  pictures  are  ac- 
counted among  the  great  performances  of  modern 
times. 

206 

LEDORMOIR— FORET  DE  FONTAINEBLEAU 
Lent  by  Miss  Stella  D.  Ford,  Detroit. 


PETER  PAUL  RUBENS 

BORN  1577.  DIED  1640 

One  of  the  world’s  great  painters,  born  at  Siegen,  in 
Westphalia,  and  a pupil  at  Antwerp  of  Vsenius.  At  the 
age  of  twenty-two  he  was  admitted  to  the  Guild  as  a mas- 
ter painter.  He  visited  Italy  in  1600,  attaching  himself 
to  the  Duke  of  Mantua,  who  sent  him  to  Rome  and  Ma- 
drid, and  after  eight  years  of  absence  he  returned  to 
Antwerp  in  1608,  being  made  court  painter  the  following 
year.  He  had  innumerable  pupils,  was  a most  fecund 
worker,  found  time  to  make  diplomatic  visits  to  Holland, 
Spain  and  England,  and  left  an  enormous  quantity  of 
work  behind  him,  in  which  he  employed  not  infre- 
quently his  pupils  to  throw  up  the  compositions  on  can- 
vas and  lay  in  the  preliminary  painting,  after  which  the 
master  completed  it. 


96 


THE  WOMAN  TAKEN  IN  ADULTERY  BY  PETER  PAUL  RUBENS 
LENT  BY  F.  KLEIN  BERBER,  ESQ.,  PARIS 


PORTRAIT  OF  THE  MARQUIS  SPINOLA  BY  PETER  PAUL  RUBENS 
LENT  BY  MRS.  IT.  N.  TORREY,  DETROIT 


PART  III  : EUROPEAN  PAINTINGS 


PETER  PAUL  RUBENS — Continued 

207 

THE  WOMAN  TAKEN  IN  ADULTERY 
Exhibited  Antwerp  Museum,  1907,  and  Brussels,  1910. 
From  the  collections  of  Mr.  Schuster  and  Mr.  Curty, 
Vienna. 

Lent  by  F.  Kleinberger,  Esq.,  Paris. 

208 

PORTRAIT  OF  THE  MARQUIS  SPINOLA 
Lent  by  Mrs.  H.  N.  Torrey,  Detroit. 


SALOMAN  VAN  RUYSDAEL 
BORN DIED  1670 

One  of  a numerous  artistic  family  and  uncle  of  Jakob  of 
the  same  name.  In  1648  he  was  dean  of  the  Haarlem 
Corporation.  More  or  less  of  an  imitator  of  Van  Goyen, 
he  painted  landscapes  and  views  of  rivers  in  Holland. 

209 

HALT  BEFORE  AN  INN 
Lent  by  F.  Kleinberger,  Esq.,  Paris. 


ALFRED  STEVENS 
BORN  1828.  DIED  1906 

Born  in  Brussels.  Pupil  of  Navez  of  Brussels;  of  the 
Ecole  des  Beaux  Arts,  Paris,  and  of  Roqueplan.  Iden- 

97 


THE  TOLEDO  MUSEUM  OF  ART 


tified  with  genre  compositions  of  beautiful  women  in 
graceful  arrangements  of  pose  and  surroundings.  For 
years  an  important  figure  in  Paris  and  its  art,  and  at  his 
death  a street  in  that  city  was  named  after  him.  Member 
of  the  Legion  of  Honor,  France,  and  of  many  other  or- 
ders. Medals,  Paris,  Brussels,  and  elsewhere. 

210 

THE  WIDOW 

Lent  by  Martin  Ryerson,  Esq.,  Chicago. 


CONSTANT  TROYON 
BORN  1810.  DIED  1865 

Troyon,  as  a youth,  worked  in  the  Sevres  Porcelain 
Factory  with  Diaz  and  Dupre,  and,  like  them,  then  de- 
termined upon  the  career  of  a painter.  He  first  ex- 
hibited at  the  Salon  of  1833,  up  to  this  painting  the 
landscape  exclusively.  After  a visit  to  Holland,  he  be- 
gan to  paint  animals,  with  which  his  name  is  now  as- 
sociated, and  he  became  the  best  of  all  modern  men  in 
this  direction.  As  a painter  of  cattle,  he  has  achieved 
the  highest  distinction,  receiving  many  medals  and  the 
Legion  of  Honor  for  his  work.  Many  of  his  greatest 
canvases  are  owned  in  America. 

211 

CATTLE  DRINKING  AT  A POOL 
Lent  by  W.  K.  Bixby,  Esq.,  St.  Louis. 

98 


CATTLE  DRINKING  AT  A POOL  BY  C.  TROYON 


THE  CALM  BY  JAN  VAN  DER  CAPELLE 
LENT  BY  MARTIN  RYERSON,  ESQ.,  CHICAGO 


PART  III  : EUROPEAN  PAINTINGS 


JOSEPH  MALLOPvD  WILLIAM  TURNER,  R.  A. 

BORN  1775.  DIED  1851 

Born  in  London,  the  son  of  a barber.  He  began  bis  career 
as  a prodigy  in  bis  father’s  shop,  bis  earliest  drawing 
being  one  of  Margate  church,  executed  when  he  was  nine 
years  old.  Some  engravings  he  copied  were  placed  on 
sale  in  the  window  of  the  shop.  His  general  education 
was  neglected  to  push  him  in  the  arts,  and  finally  he  was 
placed  with  an  architect.  It  is  interesting  to  note  that  he 
was  dismissed  by  his  employer  because  of  his  incapacity 
to  learn  perspective,  though  he  afterward  became  pro- 
fessor of  that  branch  in  the  Royal  Academy.  In  1789 
he  attended  the  schools  of  the  Royal  Academy,  where  he 
remained  some  years.  Leaving  there,  he  went  to  nature, 
and  gradually  made  a name  for  himself,  and  in  1819,  for 
the  first  time,  he  went  to  Italy.  A visit  to  Venice  seemed 
to  inspire  him,  for  from  that  time  date  his  finest  nolions 
of  color.  Although  he  was  a man  of  enormous  activity 
and  left  a great  deal  of  work  behind  him,  he  found  time 
to  indulge  in  excesses  that  finally  undermined  his  health. 
He  was  one  of  the  most  original  of  artistic  geniuses,  a 
superb  colorist,  a man  of  extraordinarily  inventive 
mind,  and  his  fame  has  increased  with  the  years. 

212 

LUCERNE 

( WATER  COLOR) 

Lent  by  Miss  Stella  D.  Ford,  Detroit. 

99 


THE  TOLEDO  MUSEUM  OF  ART 


JOSEPH  MALLORD  WILLIAM  TURNER,  R.  A. 

213 

FLORENCE 
(water  color) 

Lent  by  Miss  Stella  D.  Ford,  Detroit. 

JAN  VAN  DER  CAPELLE 
BORN  ABOUT  1630.  DIED  AFTER  1680 

Born  at  Amsterdam.  A painter  of  river  scenes,  sea- 
pieces  and  landscapes  of  great  delicacy.  Little  is  known 
of  him  save  that,  in  1653,  he  received  the  Freedom  of  the 
City  of  Amsterdam.  He  is  represented  in  many  of  the 
European  museums. 

214 

THE  CALM 

Lent  by  Martin  Ryerson,  Esq.,  Chicago. 

JOOS  VAN  CLEEF 
(master  of  the  death  of  the  virgin) 

BORN  1646.  DIED  1716 

Born  at  Venloo,  in  Guelderland.  Pupil  of  Primo  Gentil 
and  the  school  of  Gaspar  de  Craeyer,  at  Brussels.  As- 
sisted his  master  in  a number  of  church  decorations  for 
the  Low  Countries,  and  at  the  master’s  death  he  was  in- 
trusted with  the  completion  of  unfinished  works.  Van 
Cleef’s  pictures  are  numerous  in  Flanders  and  Brabant, 
and  are  in  many  museums  of  Europe. 

100 


MADONNA  BY  JOGS  VAN  CLEEF 
LENT  BY  HENRY  REINHARDT,  ESQ.,  NEW  YORK 


PORTRAIT  OF  COUNT  PFALS-NEUBURG  BY  ANTHONY  VAN  DYCK 
LENT  BY  IIENRY  REINHARDT,  ESQ.,  NEW  YORK 


PART  III  : EUROPEAN  PAINTINGS 


JAN  VAN  CLEEF— Continued 

215 

MADONNA 

Lent  by  Henry  Reinhardt,  Esq.,  New  York. 

SIR  ANTHONY  VAN  DYCK 
BORN  1599.  DIED  1641 

Born  at  Antwerp.  Apprenticed,  at  the  age  of  ten,  to 
Hendrik  van  Balen;  at  sixteen  he  entered  the  academy 
of  the  great  Rubens,  with  whom  he  remained  as  pupil 
and  assistant.  He  was  admitted  into  the  Guild  of  St. 
Luke  at  Antwerp,  in  1618.  Went  to  England  and  en- 
tered the  service  of  James  I in  1621.  After  a brief  visit 
home  he  went  to  Italy,  where  he  studied,  made  portraits, 
and  on  his  return  to  Antwerp  became  famous  as  a 
painter  of  portraits  and  historical  subjects.  He  finally 
settled  in  England,  and  became  painter  to  Charles  I,  as 
well  as  the  vogue  in  that  country,  living  there  in  almost 
regal  manner.  He  was  one  of  the  great  portrait  painters 
of  all  times,  of  distinguished  style  and  remarkable  tech- 
nique, and  he  left  behind  him  an  enormous  quantity  of 
work  of  all  kinds,  having  had  a large  following  and 
many  pupils.  Of  the  British  nobility  alone,  he  painted 
no  less  than  seventy-two  well-known  portraits. 

216 

PORTRAIT  OF  COUNT  PFALS-NEUBURG 
Lent  by  Henry  Reinhardt,  Esq.,  New  York. 

101 


THE  TOLEDO  MUSEUM  OF  ART 


GEORGE  FREDERICK  WATTS,  R.  A. 

BORN  1818.  DIED  1901 

Born  in  London.  Pupil  of  the  Royal  Academy  schools. 
Early  won  a prize  in  a competition  for  the  decoration  of 
the  Houses  of  Parliament.  After  this  went  to  Florence, 
Italy,  for  further  study,  and  subsequently  won  still  an- 
other important  prize.  Painted  a number  of  frescoes, 
many  remarkable  compositions,  and  gave  large  atten- 
tion to  portraiture,  in  which  he  achieved  enduring  fame. 
His  sitters  included  many  of  the  foremost  men  and 
women  of  his  time,  in  art,  music,  literature,  the  drama, 
politics,  and  other  directions.  Was  noted  as  well  for  his 
sculpture,  and  is  considered  one  of  the  strongest  art 
personalities  of  the  last  century. 

217 

TIME,  DEATH,  AND  JUDGMENT 
Lent  by  Charles  L.  Hutchinson,  Esq.,  Chicago. 


J.  H.  WEISSENBRUCH 
BORN  1824.  DIED  1903 

Born  in  Holland,  and  studied  under  Shelfhout  and  Van 
Hove.  A friend  of  the  distinguished  Dutchman  Bos- 
boom,  he  profited  much  by  his  advice  and,  working  for 
years  in  a most  minute  manner,  finally  broadened  out 

102 


TIME,  DEATH,  AND  JUDGMENT  BY  GEORGE  FREDERICK  WATTS,  R.  A 
LENT  BY  CHARLES  L.  HUTCHINSON,  ESQ.,  CHICAGO 


THE  WINDMILLS  BY  T.  H.  WEISSENBRUCH 
LENT  BY  RALPH  CUDNEY,  ESQ.,  CHICAGO 


PART  III  : EUROPEAN  PAINTINGS 


his  style  and  methods,  with  which  the  world  of  collec- 
tors is  familiar  to-day.  Painter  of  the  Holland  landscape 
in  its  varying  moods,  and  considered  one  of  its  greatest 
artists. 

218 

THE  WINDMILLS 
Lent  by  Ralph  Cudney,  Esq.,  Chicago. 

219 

LANDSCAPE  AND  CLOUDS 
Lent  by  W.  K.  Bixby,  Esq.,  St.  Louis. 


103 


PART  IV 

MEMORIAL  EXHIBITION 
OF  THE  WORK  OF 
JOSEF  ISRAELS 


) 


LAST  PORTRAIT  OF  THE  ARTIST  PAINTED  BY  HIMSELF 
LENT  BY  MR.  AND  MRS.  EDWARD  DRUMMOND  LIBBEY,  TOLEDO 


AN  ADDRESS 

DELIVERED  BY 

FRANK  WAKELEY  GUNSAULUS,  D.  D. 

ON  THE  OCCASION  OF  THE  OPENING  OF 

THE  MEMORIAL  EXHIBITION 
OF  THE  WORK  OF  JOSEF  ISRAELS 

JANUARY  EIGHTEENTH 
MCMXII 

THROUGH  the  magnanimity  and  that  sense  of  pro- 
portion which  has  distinguished  him  whose  life 
and  labors  will  always  be  associated  with  the 
earliest  conception  and  the  proudest  achievement  of  this 
institution,  The  Toledo  Museum  of  Art,  and  because  of 
the  nation-wide  generosity  of  the  owners  of  these  mas- 
terpieces whose  kindness  and  whose  loyalty  to  a great 
name  and  fame  the  world  of  art  will  not  forget,  we  are 
here  and  now  permitted  to  join  with  him  and  them, 
in  calling  to  mind  the  character  and  career  of  Josef 
Israels. 

Long  ago,  the  essayist  in  the  history  of  painting  has 
dealt  with  his  accomplishments  in  the  spirit  and  with 
the  technical  care  of  a student  of  aesthetics.  For  more 
than  fifty  years,  the  lover  of  the  beautiful  has  vied  with 
the  student  of  human  nature  at  its  greatest  depths,  or  in 

107 


THE  TOLEDO  MUSEUM  OF  ART 


its  playful  and  moving  surfaces,  to  find  in  Israels’  hand 
the  plummet,  or  eye-glass,  by  which  we  learn  of  this 
great  sea  called  human  consciousness.  As  a scholar  of 
wide  and  accurate  research  in  the  things  of  the  human 
heart,  he  has  surpassed  every  expectation  which  the 
youthful  student  of  Groningen  had  led  men  to  cherish 
concerning  his  career.  Mr.  H.  W.  Mesdag  has  often  told 
me  how,  when  Israels  was  a youth,  and  the  banker- 
friend  of  his  family  looked  forward  to  the  education 
and  development  of  a man  of  genius  as  to  practical  af- 
fairs, he  was  interrupted  by  some  manifestation  of  the 
young  man’s  passion  for  learning;  but  even  then,  far 
above  all  else,  there  glowed  within  him  a lofty  beacon- 
light — a search-light  indeed — that  revealed  more  of 
human  nature  and  man’s  environment  than  any  banker 
could  ever  reduce  to  coin  or  any  mere  pedant  could  con- 
fine in  books  of  learning. 

Advancing  with  a little  more  of  intimacy  toward  Josef 
Israels’  personality,  and  especially  its  aspects  in  his  later 
career,  we  may  well  look  into  a characteristic  chapter  of 
his  maturer  life,  if  we  seek  to  find  what  is  true  with  re- 
gard to  his  openness  of  mind,  the  spring  and  current  of 
his  imagination,  and  the  almost  unfailing  potency  of  his 
art.  It  must  have  been  in  1891  that  I first  found  Mr. 
Israels  seriously  reproducing  from  his  mind’s  eye,  and 
for  what  he  knew  was  to  be  perhaps  his  greatest  canvas, 
the  most  dramatic  episode  in  the  life  of  Saul,  King  of 
Israel.  In  that  autobiography  on  canvas — his  portrait  of 

108 


THE  SEXTON  OF  KATWIJK  BY  JOSEF  ISRAELS 


THE  RAY  OF  SUNSHINE  BY  JOSEF  ISRAELS 
LENT  BY  MRS.  H.  N.  TORREY,  DETROIT 


PART  IV  : MEMORIAL  ADDRESS 


himself  made  for  Mr.  Libbey,  and  now  reproduced  at  the 
beginning  of  this  address — we  have  a wonderfully 
wrought  monument  of  that  tragic  hour  in  the  mighty 
monarch’s  history. 

I was  fairly  well  acquainted  with  the  growth  of  that 
monumental  work,  through  the  kindness  of  Mr.  Israels, 
from  the  time  of  its  first  really  adequate  expression,  as  a 
drawing,  to  the  later  days,  when  this  aged  and  apparently 
infirm  man  climbed  into  the  awful  sunrise  of  that  pic- 
ture, and,  coming  down  the  wooden  steps  which  he 
traversed  so  often  to  give  the  sunlight  a more  dramatic 
suggestiveness,  walked  backwards,  step  by  step,  into  the 
distance  by  which  alone  he  could  look  into  the  mystery 
and  grandeur  of  the  picture,  only  to  go  forward  again 
and  touch  the  face  of  the  mad  king  with  a deeper  shade 
of  meaning,  or  pour  from  his  pencil  into  the  harp-strings 
of  David  a more  winsome  music. 

No  one  who  knew  less  of  him  than  his  closest  friends, 
or  those  who,  from  afar,  were  admitted  into  the  kindness 
of  his  literary  acquaintance  to  share  his  enthusiasms 
over  great  books,  can  ever  say  how  deeply  Browning’s 
“Saul,”  as  well  as  the  poem,  now  almost  forgotten,  of  a 
comparatively  unknown  Canadian  writer,  called  “The 
Drama  of  Saul,”  influenced  Josef  Israels’  comprehen- 
sive and  growing  intellectual  and  artistic  life  while  he 
was  painting  this  picture.  It  is  an  unforgettable  experi- 
ence in  my  own  life  and  always  will  remain  an  inspiring 
reflection  that  I read  to  him  this  passage: 

109 


THE  TOLEDO  MUSEUM  OF  ART 


“Now  let  hell  work  (or  heaven)  its  will  on  Saul! 

I am  beset  by  a new  demon ; still 
That  chorus  haunts  me,  and  from  every  other 
Study  my  mind  reverts  to  that  foul  lode-thought. 
I know  that  I am  not  in  health  of  body; 

Hence  may  arise  the  sickness  of  my  mind. 

For  I am  seized  with  ague  of  the  soul. 

Now  hot,  now  cold,  now  rage,  now  fear,  in  turns : 
And  sometimes  I believe  I feel  my  old, 

My  demon-ruled  and  fatal  fit  returning. 

O God,  give  me  not  up  again  to  that! 

David,  young  roe,  start  from  thy  form,  and  flee 
Out  of  the  dangerous  thicket  of  my  thoughts !” 


He  walked  to  and  fro  in  his  studio,  and  told  me  that  he 
had  been  interested  in  Saul  as  the  most  cathedral-like 
and  dolorous  character  of  the  Old  Testament,  most 
splendid  in  its  ruins. 

Israels  knew  literature,  and  made  comparisons,  the 
pith  and  point  of  which  astonished  me,  as  he  talked  of 
Macbeth  and  Lear,  and  the  Faust  of  Goethe,  with  refer- 
ence to  certain  problems  in  the  career  of  Saul.  I felt 
then,  as  I feel  now,  that  Josef  Israels  would  have  been 
known  as  a great  man,  if  he  had  essayed  literary  pro- 
duction. 

After  reading  over  this  passage,  which  represents  the 
king  in  the  consciousness  of  his  overthrown  reason,  he 
said  to  me:  “This  man  certainly  understands  the  phe- 
nomenon of  such  moral  insanity  as  was  Saul’s.”  We 
went  to  the  Mauritshuis  together,  and  he  showed  me  how 
unsatisfactory,  both  as  a painting  and  as  a work  of  in- 

110 


EXPECTATION  BY  JOSEF  ISRAELS 
LENT  BY  THE  METROPOLITAN  MUSEUM  OF  ART,  NEW  YORK 


THE  PANCAKE  BY  JOSEF  ISRAELS 


PART  IV  : MEMORIAL  ADDRESS 


terpretation  of  human  character,  was  the  Saul  there 
attributed  to  Rembrandt.  He  even  doubted  if  Rem- 
brandt could  have  made  the  mistakes,  with  respect  to 
the  dress  and  attitude,  as  well  as  certain  anachronisms, 
which  he  said  any  Hebrew  student  would  discover  in  the 
picture;  and,  in  general,  he  pointed  out  the  weakness  of 
that  conception  of  the  Hebrew  king  and  the  comparative 
lack  of  power  in  technical  achievement. 

In  the  afternoon,  he  asked  me  to  read  more  of  this 
poem  to  which  I have  referred,  and  his  own  conception 
of  the  insane  potentate  of  Israel,  while  under  the  wooing 
influences  of  the  shepherd  boy’s  music,  was,  as  he  told 
me,  marvelously  quickened  into  vividness  and  power, 
by  the  following  lines: 

“Still  more,  still  more:  I feel  the  demon  move 
Amidst  the  gloomy  branches  of  my  breast, 

As  moves  a bird  that  buries  itself  deeper 
Within  its  nest  at  stirring  of  the  storm. 

Were  ever  sounds  so  sweet! — where  am  I?  O, 

I have  been  down  in  hell,  but  this  is  heaven ! 

It  grows  yet  sweeter, — ’tis  a wondrous  air, 

Methinks  I lately  died  a hideous  death. 

And  that  they  buried  me  accursed  and  cursing. 

But  this  is  not  the  grave;  for,  surely,  music 
Comes  not  t’reanimate  man  ’neath  the  clods. 

Let  me  not  think  on’t!  yet  a fiend  fierce  tore  me. 

Ah,  I remember  now,  too  much  remember; 

But  I am  better:  still  methinks  I fainted; 

Or  was  the  whole  a fearful,  nightmare  dream? 

Nay,  am  I yet  not  dreaming?  No;  I wake : 

And,  as  from  dream  or  as  from  being  born, 

111 


THE  TOLEDO  MUSEUM  OF  ART 


Without  the  outcry  of  a mother’s  travail; 

Or,  as  if  waking  from  a revery, 

I to  myself  am  ushered  by  strange  music. 

That,  in  its  solemn  gentleness,  falls  on  me 
Like  a superior’s  blessing.  Give  me  more 
Of  this  sweet  benefit.” 

Now,  another  experience  came  to  him  from  a more 
masterly  mind.  For,  I had  the  honor  to  bring  to  him 
Browning’s  “Saul,”  and  to  read  with  him  those  haunting 
lines  which  are  forever  descriptive  of  the  higher  and 
sweeter  ministry  which  is  almost  an  atonement  and  a 
reconciliation  with  the  Eternal  Harmony. 

Josef  Israels  possibly  needed  no  help  from  the  author 
of  “The  Drama  of  Saul”  to  realize  his  conception  of 
Saul;  but  here  was  a distinctly  great  addition  and  enrich- 
ment to  his  conception  of  David,  who,  of  course,  shares 
with  Saul  the  absorbing  interest  of  Israels’  masterpiece, 
as  I believe  it  to  be,  just  as  he  shares  with  Saul  the  inter- 
est of  the  student  of  that  dramatic  era  whose  master- 
minds they  were.  Indeed,  I might  go  further,  and  say 
that  young  David  rises  out  of  Browning’s  poem  with  an 
eminence  of  heroism.  It  is  a mental  and  moral  victory, 
through  the  ministries  of  the  art  of  music.  If  ever  the 
Christian  idea,  so  projected  at  length  at  Calvary  in 
David’s  Greater  Son,  was  manifested  in  a “proto-evan- 
gelium,”  it  is  in  the  effort  of  the  young  shepherd  and 
minstrel,  David,  playing  before  Saul,  to  break  through 
the  discords  of  poor  Saul’s  madness,  and  restore  the  man 

112 


OLD  AGE  BY  JOSEF  ISRAELS 
LENT  BY  EDWARD  MORRIS,  ESQ.,  CHICAGO 


THE  NEW  FLOWER  BY  JOSEF  ISRAELS 
LENT  BY  E.  L.  FORD,  ESQ.,  DETROIT 


PART  IV  : MEMORIAL  ADDRESS 


unto  himself  and  the  universe  and  God,  by  victorious 
harmony.  What  else  is  the  atonement?  What  grander 
conception  of  the  sin-bearing  glory  of  humanity  could 
there  be? 

In  a score  of  his  pictures — and  I shall  refer  to  but  one 
of  them — Israels  has  comprehended  and  expressed  the 
very  essence  of  Christianity.  We  have  had  no  greater 
preacher  of  the  Gospel  of  that  blessed  Jew  whose  philos- 
ophy of  salvation  gives  to  a world,  maddened  with  sin, 
the  music  of  Calvary,  than  the  painter,  Josef  Israels,  with 
the  possible  exception  of  Robert  Browning,  whose  poem 
will  be  forever  connected  with  the  great  man’s  picture. 

One  day  he  was  painting  at  the  chords — merely  in- 
dicating the  quivering  strings  of  the  lyre — when  he  read 
these  words  of  Browning’s: 

“Then  I tuned  my  harp, — took  off  the  lilies  we  twine  ’round  its 
chords 

Lest  they  snap  ’neath  the  stress  of  the  noontide — those  sunbeams 
like  swords ! 

And  I first  played  the  tune  all  our  sheep  know,  as,  one  after  one. 
So  docile  they  come  to  the  pen-door  till  folding  be  done. 

They  are  white  and  untorn  by  the  bushes,  for  lo,  they  have  fed 
Where  the  long  grasses  stifle  the  water,  within  the  stream’s  bed; 
And  now  one  after  one  seeks  its  lodging,  as  star  follows  star 
Into  eve  and  the  blue  far  above  us, — so  blue  and  so  far!” 

He  went  on  reading  of  “tune  after  tune,”  to  my  great 
amazement,  and  broke  off  saying,  after  “the  tune  of  the 
marriage,”  “I  know  nothing  finer  than  this:” 

113 


THE  TOLEDO  MUSEUM  OF  ART 


“And  then,  the  great  march 

Wherein  man  runs  to  man  to  assist  him  and  buttress  an  arch 
Nought  can  break;  who  shall  harm  them,  our  friends? — Then  the 
chorus  intoned 

As  the  Levites  go  up  to  the  altar  in  glory  enthroned. 

But  I stopped  here — for  here  in  the  darkness,  Saul  groaned 


I have  often  thought  that  the  light  in  the  picture  of 
Israels’  delineating  Saul,  under  the  spell  of  David’s 
music,  is  the  light  which  comes  after  that  darkness  in 
which  “Saul  groaned” 

Mr.  Greenshields’  interesting  remarks  on  Israels  are  to 
be  coupled  with  his  charming  essay  on  the  author  of 
“The  Drama  of  Saul,”  the  forgotten  poet.  What  a 
gracious  thing,  in  the  history  of  painting  and  poetry,  it 
is,  that  one  is  remembered  thus,  and  that  this  forgotten 
poet  has  some  adumbration  of  his  bright  but  evanescent 
life  in  the  immortal  picture  of  Israels,  and  that,  long 
after  his  death,  Browning  worked  through  the  tremulous 
but  unerring  hand  of  the  old  painter,  as  he  touched  his 
Saul,  making  us  read  to  him  from  Browning  these 
words : 

“At  the  first  I saw  nought  but  the  blackness;  but  soon  I descried 
A something  more  black  than  the  blackness — the  vast,  the  upright 
Main  prop  which  sustains  the  pavilion : and  slow  into  sight 
Grew  a figure  against  it,  gigantic  and  blackest  of  all; — 

Then  a sunbeam,  that  burst  thro’  the  tent-roof, — showed  Saul.” 

Or,  pouring  out  his  love  upon  Saul,  as,  at  last,  David 
cries  to  God : 


114 


MATERNAL  HAPPINESS  BY  JOSEF  ISRAELS 
LENT  BY  RALPLI  CUDNEY,  ESQ.,  CHICAGO 


AFTER  TIIE  STORM  BY  JOSEF  ISRAELS 


PART  IV  : MEMORIAL  ADDRESS 


“Oh,  speak  through  me  now! 

Would  I suffer  for  him  that  I love?  So  wouldst  Thou — so 
wilt  Thou ! 

So  shall  crown  Thee  the  topmost,  ineffablest,  uttermost  Crown — 
And  Thy  love  fill  infinitude  wholly,  nor  leave  up  nor  down 
One  spot  for  the  creature  to  stand  in ! It  is  by  no  breath, 

Turn  of  eye,  wave  of  hand,  that  Salvation  joins  issue  with  death! 
As  Thy  love  is  discovered  almighty,  almighty  be  proved 
Thy  power,  that  exists  with  and  for  it,  of  being  beloved! 

He  who  did  most,  shall  bear  most;  the  strongest  shall  stand  the 
most  weak. 

’Tis  the  weakness  in  strength  that  I cry  for!  My  flesh,  that  I seek 
In  the  Godhead!  I seek  and  I find  it.  O Saul,  it  shall  be 
A face  like  my  face  that  receives  thee : A man  like  to  me, 

Thou  shalt  love  and  be  loved  by,  forever!  A hand  like  this  hand 
Shall  throw  open  the  gates  of  new  life  to  thee ! See  the  Christ 
stand!” 

Great  and  precious  was  the  inheritance  of  Josef  Israels 
from  the  Dutchmen  of  the  Seventeenth  Century.  The 
main  contribution  they  made  to  him  was  an  attitude  of 
mind  and  a point  of  view  with  reference  to  the  facts  of 
our  common  life.  No  one  has  more  justly  estimated 
these  values  than  George  Eliot,  who  says: 

“It  is  for  this  rare,  precious  quality  of  truthfulness 
that  I delight  in  many  Dutch  paintings,  which  lofty- 
minded  people  despise.  I find  a source  of  delicious  sym- 
pathy in  these  faithful  pictures  of  a monotonous  homely 
existence,  which  has  been  the  fate  of  so  many  more 
among  my  fellow-mortals,  than  a life  of  pomp  or  of 
absolute  indigence,  of  tragic  suffering,  or  of  world-stir- 
ring actions.  I turn  without  shrinking  from  cold  cloud- 

115 


THE  TOLEDO  MUSEUM  OF  ART 


borne  angels,  from  prophets,  sibyls  and  heroic  warriors, 
to  an  old  woman  bending  over  her  flower-pot,  or  eating 
her  solitary  dinner,  while  the  noonday  light,  softened, 
perhaps,  by  a screen  of  leaves,  falls  on  her  mob-cap,  and 
just  touches  the  rim  of  her  spinning-wheel  and  her  stone 
jug,  and  all  those  cheap,  common  things  which  are  the 
precious  necessaries  of  life  to  her;  or  I turn  to  that 
village  wedding  kept  between  four  brown  walls,  where 
an  awkward  bridegroom  opens  the  dance  with  a high- 
shouldered, broad-faced  bride,  while  elderly  and  middle- 
aged  friends  look  on,  with  very  irregular  noses  and  lips, 
and  probably  with  quart  pots  in  their  hands,  but  with 
expressions  of  unmistakable  contentment  and  good-will. 

“Paint  us  an  angel,  if  you  can,  with  a floating  violet 
robe,  and  a face  paled  by  the  celestial  light;  paint  us  yet 
oftener  a Madonna,  turning  her  mild  face  upward,  and 
opening  her  arms  to  welcome  the  divine  glory;  but  do  not 
impose  on  us  any  aesthetic  rules  which  shall  banish  from 
the  regions  of  art  those  old  women  scraping  carrots  with 
their  work-worn  hands,  those  heavy  clowns  taking  holi- 
day in  a dingy  pot-house — those  rounded  backs  and 
stupid  weather-beaten  faces  that  have  bent  over  the 
spade  and  done  the  rough  work  of  the.  world — those 
homes  with  their  tin  pans,  their  brown  pitchers,  their 
rough  curs,  and  their  clusters  of  onions.  In  this  world 
there  are  so  manj^  of  these  common,  coarse  people,  who 
have  no  picturesque,  sentimental  wretchedness.  It  is  so 
needful  that  we  should  remember  their  existence,  else 

116 


THE  FRUGAL  MEAL  BY  JOSEF  ISRAELS 
LENT  BY  W.  K.  BIXBY,  ESQ.,  ST.  LOUIS 


IN  THOUGHT  BY  JOSEF  ISRAELS 
LENT  BY  MRS.  NATHANIEL  FRENCH,  DAVENPORT,  IA 


PART  IV  : MEMORIAL  ADDRESS 


we  may  happen  to  leave  them  quite  out  of  our  religion 
and  philosophy,  and  frame  lofty  theories  which  only  fit 
a world  of  extremes.  Therefore  let  art  always  remind 
us  of  them;  therefore  let  us  always  have  men  ready  to 
give  the  loving  pains  of  a life  to  the  faithful  representing 
of  commonplace  things — men  who  see  beauty  in  these 
commonplace  things,  and  delight  in  showing  how  kindly 
the  light  of  heaven  falls  on  them.” — Adam  Bede,  Chap- 
ter XVII. 

Men  like  Euripides  and  Josef  Israels  quicken  with  an 
earthly  immortality,  when  they  seem  most  mortal.  In 
her  “Vision  of  Poets,”  Mrs.  Browning  has  perhaps  writ- 
ten the  finest  appreciation  the  world  may  find,  in  so 
small  a compass,  of  the  poet  Euripides: 

“Our  Euripides,  the  human. 

With  his  droppings  of  warm  tears, 

And  his  touches  of  things  common, 

Till  they  rose  to  touch  the  spheres!” 

He  belongs  to  the  morning  time,  and  lives  so  deeply  in 
the  primitive  and  permanent,  that,  whenever  men  in 
recent  days  touch  the  essential  and  primal,  something 
sings  in  the  spirit  of  Euripides.  Bobert  Browning  speaks 
of  these  unique  moments  in  life  when  the  streams  at  the 
heart  of  things  flow  forth,  and  when  one  is  enchanted  by 
a “sunset  touch”  or  “some  chorus  from  Euripides.” 
Thus  one  lias  to  go  back  to  an  earlier  age  than  ours  to 
find  a parallel  for  the  greatest  of  modern  Dutch  painters, 

117 


THE  TOLEDO  MUSEUM  OF  ART 


who  just  lately  was  so  signally  honored  as  he  walked  the 
streets  of  The  Hague,  that  men  regarded  him,  next  to  his 
queen,  as  Holland’s  most  illustrious  citizen. 

Josef  Israels,  who  was  an  Hebrew  of  the  Hebrews,  “of 
the  stock  of  Israel,  of  the  Tribe  of  Benjamin,”  was  yet  so 
much  more  than  an  “Israelite  in  deed  and  in  truth,”  as 
was  Nathanael  of  old,  that  he  will  ever  illustrate,  in  the 
simplicity  and  beauty  of  his  life,  as  well  as  in  the  fluency 
and  power  of  his  art,  the  cosmopolitan  spirit.  For 
example,  he  was  Greek.  He  is  the  Euripides  of  modern 
pictorial  art.  No  man  approaches  him  in  the  human- 
izing influence  which  he  has  exercised,  to  the  utter 
demolition  of  the  inhuman  and  to  the  partial  destruction 
of  the  unhuman,  in  the  painting  of  pictures. 

Millet,  with  the  French  peasant;  and  Burns,  with  the 
Scotch  peasant;  touch  less  strongly  and  tenderly  the 
chords  divine  which  vibrate  through  the  human.  I once 
asked  a distinguished  tragedian  why  he  did  not  repro- 
duce Browning’s  drama  of  “Strafford.”  I did  not  think 
that  Macready  scarcely  gave  either  Browning  or  “Straf- 
ford” a fair  chance  many  years  ago.  The  modern  tra- 
gedian, whose  every  look  and  syllable  are  art  itself,  told 
me  that  “Strafford”  lacked  “ human  interest.”  No  artist  is 
his  total  self,  until  he  invests  all  his  powers  and  experi- 
ences in  the  character  he  portrays.  It  is  impossible  to  do 
this  in  “Strafford,”  for  he  and  his  career  do  not  manifest 
the  primal  and  ineradicable  emotions,  ideas  and  pur- 
poses of  humanity. 


118 


THE  ARMY  AND  THE  NAVY  BY  JOSEF  ISRAELS 


THE  THREE  PADDLERS  BY  JOSEF  ISRAELS 
LENT  BY  W.  K.  BIXBY,  ESQ.,  ST.  LOUIS 


PART  IV  : MEMORIAL  ADDRESS 


On  the  other  hand,  Josef  Israels  has  painted  the  heart 
of  the  human  child  so  completely,  even  in  his  treatment 
of  the  oldest  of  his  characters — for  his  figures  are  noth- 
ing less  than  characters — and  he  has  also  discovered  for 
us  the  significance  of  laborious  age,  or  resistless  strength 
of  body  and  mind,  even  in  the  smallest  tot  playing  with 
boats  upon  a little  ocean  of  his  own,  that  one  must  turn 
to  him  as  one  turns  to  a supreme  poet,  for  the  interpreta- 
tion of  himself.  The  secret  of  this  magnificent  sweep  of 
things  and  of  the  validity  of  his  interpretation  lies 
wholly  in  his  personality.  He  is  one  of  those  who  illus- 
trate the  truth  of  the  saying  that  “we  are  all  human,  yet 
some  of  us  are  more  so  than  others.” 

Israels’  humanity,  considered  as  a factor  for  discover- 
ing and  interpreting  the  human  phases  of  this  universe, 
is  an  item  of  character,  and  therefore  is  always  in  evi- 
dence. We  feel  it  in  his  paintings,  so  appealingly 
eloquent  everywhere,  because  it  is  of  him;  and  it  is  there- 
fore not  less  convincing  when  one  is  admitted  into  the 
home  and  life  of  this  true  son  of  Rembrandt.  Whatever 
a man  is  by  birth  and  tradition  and  hereditary  equip- 
ment, if  he  lives  deeply  and  broadly  enough,  he  will 
strike  out  into  the  deep,  rich  humanity  which  is  larger 
than  himself  and  root  himself  there.  This  is  illustrated 
in  the  fact  that  there  is  a Greek  element  easily  discern- 
ible when  the  extremities  of  Israels’  power  are  called 
upon.  lie  is  cosmopolitan  and  ageless.  It  is  like  living 
in  an  age  entirely,  as  Ruskin  says,  “the  greatest  men, 

119 


THE  TOLEDO  MUSEUM  OF  ART 


whether  poets  or  historians,  live  by  constant  law,”  and 
at  the  same  time,  living  through  the  age  into  the  ageless, 
as  did  Shakespeare  and  Rembrandt,  touching  the  uni- 
versal, or  at  least  finding  a symbolism  which  helps  both 
the  temporal  and  the  eternal  to  understand  one  another. 
Every  Dutch  item  in  Israels’  product  is  fruit  from  the 
all-human  tree. 

As  I have  watched  him,  painting  with  the  ardor  and 
devotion  with  which  Isaiah  prophesied  and  David  ruled 
in  Israel,  he  seemed  to  be  uttering  that  one  prayer  from 
one  of  the  Psalms  most  familiar  to  his  boyhood:  “Open 
Thou  mine  eyes,  and  I will  behold  wondrous  things  out 
of  Thy  Law.”  Here  was  a Jew,  so  intensely  living  his  life 
that  his  essential  humanity  burned  through  it.  He  went 
into  the  larger  from  the  less,  only  by  being  utterly  loyal 
to  the  less.  It  took  years  for  Israels  to  find  himself  more 
than  a Jewish  pharisee  in  thinking  and  in  art  expression. 
In  his  emancipation  from  hard  formulary,  he,  like  the 
great  Jew  Jesus,  appealed  to  the  mightier,  fresher,  and 
essential  Hebrewdom,  which  was  quite  overgrown  with 
the  traditions  of  scribe  and  pharisee.  But  Israels  has  left 
many  a canvas,  which  shows  that  he  was  a true  “son  of 
the  law.”  After  a few  years  of  laborious  legalism  (which 
is  always  necessary  in  order  that  we  may  get  from  our 
Sinai  to  our  Calvary,  in  anything),  there  rose  a spirit  of 
freedom  and  power  within  Israels,  which  at  length  got 
beyond  all  “llie  mint,  anise,  and  cummin  of  the  law,”  and 
found  the  artistic  gospel  which  was  in  Franz  Hals,  Rem- 

120 


THE  MADONNA  OF  THE  COTTAGE  BY  JOSEF  ISRAELS 
LENT  BY  G.  A.  STEPHENS,  ESQ.,  MOLINE 


PART  IV  : MEMORIAL  ADDRESS 


brandt  and  Ver  Meer  of  Delft,  as  it  was  a religious  gospel 
in  Isaiah  the  prophet  and  David  the  singer.  It  was  love 
triumphant,  not  over  law,  but  by  law,  and  through  law. 

When  he  was  a child  in  Groningen  at  ten  years  of  age, 
his  attention  was  given  to  the  Talmud,  and  for  several 
years  he  was  spoken  of  as  the  coming  rabbi.  He  has 
been  credited  with  keeping  up  his  studies  in  rabbinical 
lore,  and  with  a profound  mastery  of  the  literatures  of 
the  law  and  the  prophets.  His  art-method  has  grown 
only  as  his  character-method.  Faithfulness  to  the  few 
things  alone  has  made  him  ruler  over  many  things.  Per- 
sonally, and  from  a literary  and  philosophical  point  of 
view,  he  was  one  of  the  interesting,  and  I shall  say  im- 
pressive, men  of  modern  times.  All  the  fine  experience 
of  soul  which  the  Hebrew  nation  may  have  rescued  from 
eloquent  prophets,  deep-toned  psalmists,  valiant  kings, 
and  aspiring  servants  of  God  everywhere,  while  these 
have  been  led  through  ages  of  grief  and  joy,  now  by  the 
waters  of  Babylon  and  now  before  the  marble-turreted 
temples  of  Jerusalem,  had  wrought  upon  this  face  and 
head,  creating  also  the  attitude  of  bodily  grace,  inspiring 
the  vigor  and  nobility  which  were  but  outward  expres- 
sions of  that  inner  reality  whose  influence  the  history  of 
art  will  never  forget — Josef  Israels. 

There  is  a kind  of  Anglo-Saxon  particularly  in  evi- 
dence today  who  is  so  little  in  spirit  and  so  great  in  form 
only,  that  he  preserves  for  us  only  the  peculiarities  of 

121 


THE  TOLEDO  MUSEUM  OF  ART 


the  Saxon.  He  is  very  much  of  a force  in  a falling  mar- 
ket, as  life’s  commerce  goes  on.  He  cheapens  every- 
thing. Here  was  a Jew  so  careless  of  literalism  and 
form,  and  so  suffused  and  exalted  by  the  spiritual  qual- 
ities of  that  most  insistent  and  self-evidencing  race,  that 
we  recognize  in  him,  not  a single  peculiarity  of  his  own 
people,  but  a mental  and  spiritual  cosmopolitanism, 
fascinating  if  it  were  not  so  nearly  majestic.  In  the 
drawing  which  represents  his  being  presented  at  the 
Royal  Academy  in  London,  by  the  larger  and  handsome 
Alma-Tadema,  only  Israels’  back  is  seen,  but  the  whole 
man  is  there;  and  no  one  would  mistake  this  vibrant  and 
intense  physical  personality  for  anything  else  than  the 
instrument  of  a high  and  beautiful  soul.  It  is  so  in  his 
art,  for  wherever  anything  of  his  appears,  it  is  incon- 
testably of  Israels  and  of  all  of  him. 

No  one  who  has  beheld  one  of  the  many  attestations  of 
honor  and  reverence  given  to  him  by  the  people  at  Am- 
sterdam and  The  Hague  can  fail  to  recognize  the  fact 
that  he  was  the  indubitable  and  worthy  center  of  it  all. 
As  I saw  the  vast  and  brilliant  audience  which  ranged 
from  orchestra  boxes  to  highest  gallery,  and  observed 
the  blaze  of  those  gems  which  had  long  been  possessed 
by  the  aristocratic  families  of  Holland,  I thought  only 
the  prima  donna  might  punctuate  the  glory  with  a per- 
sonal presence  to  be  recognized.  The  most  charming  of 
modern  singers  was,  however,  wisely  waiting,  to  come  to 

122 


NEAR  THE  CRADLE  RY  JOSEF  ISRAELS 


THE  POTATO  PEELERS  BY  JOSEF  ISRAELS 
LENT  BY  HENRY  C.  LYTTON,  ESQ.,  CHICAGO 


PART  IV  : MEMORIAL  ADDRESS 


her  own  laurels  at  a later  moment.  A greater  personality 
would  first  give  piquancy  to  the  scene.  From  an  unob- 
served doorway,  quite  in  front  of  the  audience,  came  an 
insignificant,  trembling  figure,  crowned  with  snowy 
white  hair,  and  triumphant  with  three  score  years  and 
ten  of  achievement.  He  was  in  evening  dress,  and  wore 
medals  of  his  various  orders.  They  seemed  almost  too 
numerous,  for  so  slight  and  unimposing  a figure.  In  an 
instant,  the  whole  audience  was  upon  its  feet.  A smile 
from  the  venerated  artist  made  the  jewels  more  radiant, 
and  the  great  assemblage  stood  until  Josef  Israels  had 
taken  his  seat. 

All  arts,  pursuits  and  achievements  of  men  were  inter- 
esting to  this  open-eyed  human  being.  I once  sent  to 
him  as  a gift  the  “Autobiography  of  Joseph  Jefferson.” 
His  letter  in  reply  is  so  characteristic  of  vigorous  and 
many-sided  mentality  that  I venture  to  print  it,  even  with 
the  quaint  and  charming  mistakes  which  the  great 
Dutchman  made  in  handling  English: 

My  Dear  Sir  : — 

Many  thanks  for  your  kind  letter  and  for  your 
conversation  with  Joseph  Jefferson  through  which  I 
come  in  possession  of  the  fine  volume  of  the  autobi- 
ographies of  your  friend.  He  is  a very  pleasant 
story  teller,  and  I shall  send  him  reciprocally  a book 
that  I wrote  in  Dutch,  but  who  also  is  translated  in 
English.  It  is  my  voyage  in  Spain  and  illustrated 
by  myself.  As  I do  not  know  the  address  of  Mr. 
Jefferson,  you  will,  perhaps,  be  so  friendly  to  send. 

123 


THE  TOLEDO  MUSEUM  OF  ART 


I was  wondered  about  the  fine  engravings  on  the 
autobiography  and  how  good  it  is  printed  and  ed- 
ited. I have  not  been  quite  through  it,  but  the  part 
I read  is  very  interesting  and  amusing,  and  I would 
not  wait  too  long  for  thanking  you  and  the  author. 
Therefore  this:- — Art  is  a commonwealth  for  itself 
and  to  deal  with  members  of  that  community  has 
for  me  always  a great  charm. 

Believe  me,  dear  sir. 

Dr.  F.  W.  Gunsaulus  Affectionately  yours, 

Chicago  Josef  Israels 

The  commonwealth  of  which  he  speaks  was  broadly 
represented  in  his  library  and  studio,  on  the  tables  of 
which  one  saw  magazines  in  all  modern  languages  of 
culture,  fine  drawings  from  continental  and  oriental 
studios,  choice  bits  of  sculpture,  and  the  portraits  of  his 
friends. 

As  an  author  of  the  book  on  Spain,  he  is  luminous,  full 
of  humor,  and  most  interesting  and  instructive  when, 
for  example,  he  speaks  of  Velasquez  and  Rembrandt: 

“ ‘Eh  Men!’  said  my  French  friend.  ‘Was  I exaggerat- 
ing when  I talked  to  you  about  the  glorious  Velasquez?’ 

“Erens  pointed  out  that  it  was  the  fashion  lately  to 
place  Velasquez  above  Rembrandt. 

“ ‘That  is  true,’  1 replied,  ‘I  have  heard  it  said;  but  I 
think  the  opinion  frivolous.  For,  although  Velasquez  is 
an  exceptional  painter,  so  is  Rembrandt,  and  he  is  much 
more  besides.  If  Rembrandt  had  never  taken  a brush  in 
hand,  his  etchings  alone  would  have  placed  him  among 
the  foremost  creative  artists.  The  excellence  of  his  tal- 

124 


THE  TROUSSEAU  BY  JOSEF  ISRAELS 
LENT  BY  MISS  STELLA  I).  FORD,  DETROIT 


WASHING  THE  CRADLE  BY  JOSEF  ISRAELS 
LENT  BY  ITENRY  C.  LYTTON,  ESQ.,  CHICAGO 


PART  IV  : MEMORIAL  ADDRESS 


ent  as  a painter  is  but  a small  portion  of  all  that  com- 
bines to  form  the  enormous  genius  of  this  jewel  with  its 
many  facets,  his  imagination,  his  simplicity,  the  poetry 
of  his  somber,  mysterious  effects,  the  depth  and  virtu- 
osity of  his  workmanship.  Velasquez  never  painted 
heads  like  the  Staalmeesters.  The  hair  lives,  the  eyes 
look  at  you,  the  foreheads  wrinkle  at  you.  This  is  my 
first  visit  to  Madrid,  and  I rejoice  at  being  able  to  enjoy 
this,  to  me,  new  talent  of  Velasquez.  But  when  I look  at 
his  masterpiece,  “Las  Lanzas,”  and  think  of  Rembrandt’s 
“Night  Watch,”  I continue  to  regard  the  Spanish  chef- 
d’oeuvre  with  the  greatest  appreciation  and  delight,  but, 
in  my  thoughts  I fall  back  before  the  “Night  Watch”  as 
before  a miracle.  There  you  have  a breadth  of  brush 
that  no  one  has  ever  equaled.  All  of  which  painting  is 
capable  is  united  in  that:  fidelity  to  nature  and  fantasy, 
the  loftiest  masterliness  of  execution,  and  in  addition  a 
sorcery  of  light  and  shadow  that  is  all  his  own.  Rem- 
brandt’s was  an  unique  mind,  in  which  the  mystic  po- 
etry of  the  North  was  combined  with  the  warmth  and 
virtuosity  of  the  South.  The  work  of  Velasquez,  on  the 
other  hand,  glows  calmly  and  peacefully  from  these 
glorious  walls.  He  works,  but  does  not  contend;  he  feels 
gloriously,  but  wages  no  combat;  Rembrandt’s  gloomy 
silence  in  darkness,  his  striving  after  the  infinite  and  in- 
explicable, are  unknown  to  him;  serene  and  sure,  he  sits 
enthroned  upon  the  high  place  which  he  has  made  his; 
but  Velasquez’s  art  embraces  only  his  own  surround- 

125 


THE  TOLEDO  MUSEUM  OF  ART 


ings,  whereas  Rembrandt’s  plays  its  part  in  every  hu- 
man life,  and  in  addition  strives  after  the  historic  and 
the  unseen.’  ” 

If  the  finest  thought  and  enterprise  of  the  greatest  of 
Hebrews  have  ever  disclosed  their  true  roots,  it  is  in  the 
fact  that  they  have  led  civilization  to  enthrone  the  little 
child,  instead  of  the  pretentious  scholiast  or  the  bejew- 
eled  monarch.  This  is  precisely  what  Israels  has  done 
with  the  art  of  painting.  Hebrew  of  Hebrews,  he  has 
“set  the  child  in  the  midst  of  them.” 

Another  phase  of  the  matter  is  this:  he  has  irradiated 
life’s  commonplace  with  the  glory  of  the  human  soul  at 
its  highest.  Fishermen  and  their  toils,  plain  mothers 
with  their  children  in  cradles,  and  aged  scribes  or  old- 
clothes  sellers,  have  marched  along  in  the  procession 
with  his  wonderful  and  unsurpassed  delineation  of  the 
grandeur  of  Saul,  King  of  Israel.  No  man,  save  Robert 
Browning,  has  been  at  once  so  poetic  and  philosophic  in 
interpreting  the  David  of  Saul’s  tragic  hour.  But  na- 
ture, aside  from  man,  is  equally  responsive  to  him,  for, 
paradox  that  it  maj^  be,  nature  is  never  separable  from 
man  in  his  eyes.  The  range  of  interpretation  of  human- 
ity manifested  in  Ihe  multitude  of  small  and  great  which 
he  has  placed  upon  his  canvases  is  not  less  wonderful 
when  the  skies,  for  example,  of  his  pictures  are  studied 
with  reference  to  the  moods  of  mind  which  they  indi- 
cate. 


126 


TOILERS  OE  THE  SEA  BY  JOSEF  ISRAELS 


CHILDREN  OF  THE  SEA  BY  JOSEF  ISRAELS 
LENT  BY  ARTHUR  J.  SECOR,  ESQ.,  TOLEDO 


PART  IV  : MEMORIAL  ADDRESS 


CHILDREN  OF  THE  SEA 

These  be  young  Newtons  playing  on  life’s  beach. 
Sailing  Thought’s  tiny  craft  o’er  sand  and  shell, 
Learning  Life’s  secret  through  old  Ocean’s  speech 
And  new-horne  burdens,  therefore  learning  well 


Israels  did  not  live  in  a duo-verse,  least  of  all  in  a 
multi-verse,  but  in  a uni-verse.  If  a man  is  pulling  a 
boat  along  a canal,  and  indicating  to  us  the  long  way 
which  goes  through  age  to  death,  the  skies  above  him  are 
quivering  with  the  moment  in  which  every  afternoon 
drops  into  eventide.  No  one,  since  Rembrandt,  has  made 
the  physical  universe,  which  both  of  them  have  drawn 
upon  but  sparsely,  so  palpitant  with  human  emotion, 
sympathy,  desire  and  an  inspiration  entirely  human. 
Israels  might  have  been  one  of  the  great  landscape- 
painters  of  all  time.  He  has  the  directness  of  nature.  A 
great  painting  must  be  full  of  vision,  but  not  of  re- 
vision. He  has  the  visual  power,  and  with  it  the  virtu- 
osity characteristic  of  Hals.  A thoroughly  systematic 
mind,  like  every  man  of  genius,  he  is  not  a slave  to  a 
system.  A man  who  can  grow,  after  seventy-five  years 
have  gone  over  him  and  through  him,  to  the  super- 
lative power  which  creates  the  “Saul”  and  “The 
Scribe,”  is  far  beyond  the  possibility  of  manner- 
ism. Israels  has  lived  for  this  harvest  of  energy, 
insight,  fluency,  and  adequacy  of  expression.  In  every 

127 


TIIE  TOLEDO  MUSEUM  OF  ART 


artist’s  experience,  intention  and  achievement,  impres- 
sion and  expression,  must  be  as  nearly  identical  in 
the  moment  and  motive  as  possible.  In  the  creation  of 
the  mightier  canvases  of  Israels,  these  were  contempora- 
neous. This  is  the  divine  quality  of  art.  “God  said:  let 
there  be  light,  and  there  was  light.” 

When  he  passed  from  us,  Rembrandt’s  greatest  son 
had  dropped  his  brush  and  palette.  The  hues  of  these 
two  noblest  painters  of  earth’s  bravest  nation  melted 
into  the  permanent  glory,  in  which  the  two  hundred 
years  which  separated  them  seem  but  the  modulation  of 
some  splendid  line,  or  the  play  of  some  evanescent  color 
too  lovely  to  abide.  Josef  Israels  was  with  his  master  in 
the  Jerusalem  which  he  dreamed  of  as  a Jewish  lad,  and 
“the  boys  and  girls  are  playing  in  the  streets  thereof.” 

As  Rembrandt  placed  little  wooden  shoes  upon  his 
children,  in  delineating  the  glory  of  that  beloved  Jew, 
Jesus,  so  Josef  Israels  defied  the  stilted  proprieties  of  his 
Hebrew  learning  by  hanging  the  Christian’s  rosary  from 
the  mantelpiece  in  the  house  of  “The  Cottage  Madonna,” 
herself  a child  of  Rachel  and  Rebekah. 

Genius  ranges  over  the  length  and  breadth  of  the 
soul’s  experience;  and  genius  never  reported  the  deep, 
sweet  currents  of  the  soul’s  life  more  adequately  than  by 
the  pencils  of  Rembrandt  and  Israels. 

The  primitive  and  permanent  were  Israels’  and  are 
his  forever.  To  see  him  at  his  work,  mingling  his  colors 

128 


THE  COTTAGE  MADONNA  BY  JOSEF  ISRAELS 
LENT  BY  MRS.  H.  N.  TORREY,  DETROIT 


mother’s  CARES  BY  JOSEF  ISRAELS 
LENT  BY  WILLIAM  0.  GOODMAN,  ESQ.,  CHICAGO 


PART  IV  : MEMORIAL  ADDRESS 


or  touching  his  canvas,  was  to  behold  a Prince  of  the 
House  of  David  within  the  Holy  of  Holies  of  God’s  na- 
ture and  man’s  life,  unafraid  and  joyous  at  his  priestly 
task. 

That  slight  figure,  only  five  feet  in  height  and  less 
than  one  hundred  pounds  in  weight,  when  he  was  paint- 
ing King  Saul’s  most  tragic  hour,  walking  back  and 
forth,  medifaling  and  attacking  again  the  problems  on 
the  canvas  before  him,  climbed  up  the  stair  to  the  upper 
ranges  of  his  picture  to  touch  the  distant  hills  of  Pales- 
tine with  a deeper  tint,  so  ensouled  with  mastery  that 
you  saw  only  a giant  to  whom  it  was  easy  to  fling  from 
morn’s  drama  a beam  of  light  upon  the  shepherd  boy’s 
harp,  with  all  the  rapture  and  force  with  which  Brown- 
ing wrote  his  “Saul”  and  Handel  transformed  the  He- 
brew king’s  melody  into  immortal  music. 

Both  these  illustrious  masters — Browning  by  his  po- 
etry; Handel  by  his  music — set  the  soul  of  Israels  upon 
the  completion  of  the  task  he  had  chosen  for  his  own 
consummate  work  in  painting,  fifty  years  before.  The 
achievement  will  be  visited  fifty  years  hence  in  Amster- 
dam, when  the  artistic  conscience  will  say:  “I  have  seen 
Rembrandt’s  ‘Night  Watch’;  let  me  now  see  Israels’  ‘Saul 
and  David.’  ” 

He  succeeded  at  last  with  the  sublime,  because  he  had 
mastered  the  simple.  At  the  opening  of  his  career  he 
sought  to  paint  in  “the  grand  style.”  He  became  only 

129 


THE  TOLEDO  MUSEUM  OF  ART 


grandiose.  There  was  hope  for  the  young  man  from 
Holland,  when  he  left  Paris  and  went  back  homeward  to 
the  seashore  and  the  ordinary  life  of  true-hearted  men, 
women  and  children. 

Failure  and  sickness  conspired  in  vain  against  him. 
A new  character  was  wrought  within  him,  when  he  left 
the  complexities  and  delicacies  of  feverish  art  which 
was  only  artifice. 

He  followed  instead  “t he  little  child” 

This  has  led  him  to  greatness  and  an  imperishable 
name.  He  was  an  aristocrat  in  birth  and  breeding  and 
culture.  The  life  of  ilie  common  people  taught  him  the 
democracy  of  sweet  sentiments  and  noble  heroisms. 

When  the  archbishop  of  Paris  saw  his  “Cottage  Ma- 
donna” in  the  Salon,  he  said  to  the  eminent  Jew:  “Mr. 
Israels,  you  are  a great  Catholic.” 

Even  then,  he  appeared  not  more  noble  than  when 
I saw  him  touch  for  the  last  time  one  of  the  pictures  of 
childhood  reproduced  in  this  memorial,  and  say:  “ ‘Ex- 
cept ye  become  as  little  children,  ye  shall  not  enter  the 
kingdom  of  heaven.’  ” 


THE  LONG  WAY 


So  long  and  urgent  is  man’s  destined  way 
Why  must  it  shadowy  he? 

There  blows  at  waning  of  a labored  day 
Life’s  bud  of  mystery. 

130 


HOMEWARDS  BY  JOSEF  ISRAELS 


r 


PART  IV  : MEMORIAL  ADDRESS 


A flower  with  mellow  tints  alive; 

The  violet  flush  o’er  gold. 

The  sky  abloom  for  them  who  strive 
In  youth  of  hope,  being  old. 


O Rembrandt’s  son,  in  days  more  wrought 
Than  his  with  light  and  shade — 

More  sad  with  introverted  thought: 
Thanks  for  thy  faith  displayed! 


For  darkness  palls  not  luminous  as  thine, 
The  light  hath  healing  balm; 

Leaving  to  eyes  disturbed  no  garish  sign; 
Instead  unwonted  calm. 


The  darkness  on  thy  palette  censured  oft, 

Like  to  the  psalmist’s  rune, 

Holds  subject  streams  whose  advent  bright  and  soft 
Whelms  clouded  hearts  with  noon. 


Thou  Hebrew  prophet,  mage  of  sighs  and  tears, 
Singer  of  joy  with  pain 

And  hours  of  prayers  and  mother-hopes  and  fears. 
And  childhood’s  glad  refrain. 


By  Babylon’s  high  towers  and  rivers  bright 
Thy  fathers  sang  and  toiled, 

While  sti’ings  of  pure  and  vitalizing  light 
Within  their  sadness  coiled. 


131 


THE  TOLEDO  MUSEUM  OF  ART 


Soul,  struggle  on  in  shifting  shadows  born 
Of  light  and  hearten  care: 

Till  labor  wake  in  all-revealing  morn. 

Fair  and  forever  fair. 


132 


CATALOGUE 

OF  A 

MEMORIAL  EXHIBITION 

OF  THE  WORK  OF 

JOSEF  ISRAELS 

JOSEF  ISRAELS,  the  greatest  of  all  the  modern 
Dutch  masters,  was  born  at  Groningen,  in  Holland, 
in  1824  and  died  in  1911.  He  was  the  son  of  a Jew- 
ish banker,  and  though  ambitious  to  become  a rabbi, 
having  made  serious  study  in  that  direction,  he  finally 
entered  his  father’s  office,  where  he  remained  a short 
time,  when,  his  art  proclivities  becoming  manifest, 
he  was  placed  under  proper  tuition  at  Amsterdam. 
From  there  he  went  to  Paris  to  become  a pupil  of  Picot. 
Impressed  by  the  classical  manner,  he  painted  composi- 
tions that  cost  him  much  labor  but  made  little  public 
appeal,  and  his  resources  being  small,  he  was  obliged  to 
make  great  economies,  to  the  end  that  he  undermined 
his  health  for  lack  of  proper  food  and  surroundings. 
Returning  to  Holland,  it  was  necessary  for  him  to  recu- 
perate, and  he  went  to  the  seashore,  where  he  lived  in 
great  simplicity  among  the  peasants.  Impressed  by 

133 


THE  TOLEDO  MUSEUM  OF  ART 


these  people,  he  began,  with  the  restoration  of  his  health, 
to  paint  them,  and  from  the  first  he  was  successful,  both 
artistically  and  in  a material  way,  becoming  by  general 
consent  the  acknowledged  pictorial  historian  of  the 
peasantry  of  Holland.  Greatly  beloved  by  his  people 
and  his  confreres,  he  received  at  home  and  abroad  the 
most  distinguished  honors.  He  was  an  Honorary  Mem- 
ber of  the  Academies  of  Antwerp,  Edinburgh,  and  Mu- 
nich; Corresponding  Member  of  the  Institute  of  France; 
Officer  of  the  Legion  of  Honor,  France,  and  of  Orders  in 
Austria,  Belgium,  Italy,  Bavaria,  and  Wiirtemberg.  He 
is  represented  in  museums  all  over  Europe  and  America, 
and  is  particularly  in  favor  with  the  collectors  of  the 
United  States. 

220 

THE  SEXTON  OF  KATWIJK 
Lent  by  Mr.  and  Mrs.  Frank  G.  Logan,  Chicago. 

221 

TOILERS  OF  THE  SEA 
Lent  by  Mr.  and  Mrs.  Frank  G.  Logan,  Chicago. 

222 

MOTHER’S  CARES 

Lent  by  William  0.  Goodman,  Esq.,  Chicago. 

223 

THE  CONVALESCENT 
Lent  by  the  Cincinnati  Museum  Association. 

134 


PART  IV  : MEMORIAL  EXHIBITION 


224 

HOMEWARDS 
(water  color) 

Lent  by  Ralph  Cudney,  Esq.,  Chicago. 

225 

THE  NEW  FLOWER 
Lent  by  E.  L.  Ford,  Esq.,  Detroit. 


226 

THE  DAILY  EREAD 


Lent  by  Mr.  and  Mrs.  Edward  Drummond  Libbev, 
Toledo. 


227 

IN  THOUGHT 


Lent  by  Mrs.  Nathaniel  French,  Davenport,  la. 


228 

THE  MADONNA  OF  THE  COTTAGE 
Lent  by  G.  A.  Stephens,  Esq.,  Moline,  111. 


229 

THE  ARMY  AND  THE  NAVY 
Lent  by  Frank  W.  Gunsaulus,  D.  D.,  Chicago. 

230 

AFTER  THE  STORM 
Lent  by  Edward  R.  Butler,  Esq.,  Chicago. 

231 

THE  POTATO  PEELERS 
Lent  by  Henry  C.  Lytton,  Esq.,  Chicago. 

135 


THE  TOLEDO  MUSEUM  OF  ART 


232 

WASHING  THE  CRADLE 
Lent  by  Henry  C.  Lytton,  Esq.,  Chicago. 

233 

NEAR  THE  CRADLE 
Lent  by  Frank  Gates  Allen,  Esq.,  Moline,  111. 

234 

OLD  AGE 

Lent  by  Edward  Morris,  Esq.,  Chicago. 

235 

CHILDREN  OF  THE  SEA 
Lent  by  Arthur  J.  Secor,  Esq.,  Toledo. 

236 

THE  PANCAKE 
Lent  by  E.  L.  Ford,  Esq.,  Detroit. 

237 

EXPECTATION 

Lent  by  the  Metropolitan  Museum  of  Art,  New  York. 

238 

THE  TROUSSEAU 
Lent  by  Miss  Stella  D.  Ford,  Detroit. 

239 

THE  THREE  PADDLERS 
Lent  by  W.  K.  Bixby,  Esq.,  St.  Louis. 

240 

THE  FRUGAL  MEAL 
Lent  by  W.  K.  Bixby,  Esq.,  St.  Louis. 

136 


PART  IV  : MEMORIAL  EXHIBITION 


241 

THE  COTTAGE  MADONNA 
Lent  by  Mrs.  H.  N.  Torrey,  Detroit. 


242 

THE  RAY  OF  SUNSHINE 
Lent  by  Mrs.  H.  N.  Torrey,  Detroit. 


243 

LAST  PORTRAIT  OF  THE  ARTIST 
PAINTED  BY  HIMSELF 


Lent  by  Mr.  and  Mrs.  Edward  Drummond  Libbey, 
Toledo. 


244 

MATERNAL  HAPPINESS 


Lent  by  Ralph  Cudney,  Esq.,  Chicago. 


245 

THE  PANCAKE 
(water  color) 

Lent  by  George  Lytton,  Esq.,  Chicago. 


137 


PART  V 

ORIENTAL  PAINTINGS 

LENT  BY  THE 

NATIONAL  GALLERY  OF  ART 
WASHINGTON 

( FREER  COLLECTION  ) 


I 


PANEL  BY  IvOYETSU 

NATIONAL  GALLERY  OF  ART,  WASHINGTON 
(FREER  COLLECTION) 


LENT  BY  THE 


ORIENTAL  PAINTINGS 

LENT  BY  THE 

NATIONAL  GALLERY  OF  ART 
WASHINGTON 

(FREER  COLLECTION) 

THE  history  of  Japanese  art  becomes  thus  the  his- 
tory of  Asiatic  ideals — the  beach  where  each 
successive  wave  of  Eastern  thought  has  left  its 
sand-ripple  as  it  beat  against  the  national  consciousness. 
Yet  I linger  with  dismay  on  the  threshold  of  an  attempt 
to  make  an  intelligible  summary  of  those  art-ideals.  For 
art,  like  the  diamond  net  of  Indra,  reflects  the  whole 
chain  in  every  link.  It  exists  at  no  period  in  any  final 
mould.  It  is  always  a growth,  defying  the  dissecting 
knife  of  the  chronologist.  To  discourse  on  a particular 
phase  of  its  development  means  to  deal  with  infinite 
causes  and  effects  throughout  its  past  and  present.  Art 
with  us,  as  elsewhere,  is  the  expression  of  the  highest 
and  noblest  of  our  national  culture,  so  that  in  order  to 
understand  it,  we  must  pass  in  review  the  various  phases 
of  Confucian  philosophy;  the  different  ideals  which  the 
Buddhist  mind  has  from  time  to  time  revealed;  those 
mighty  political  cycles  which  have  one  after  another  un- 

141 


THE  TOLEDO  MUSEUM  OF  ART 


furled  the  banner  of  nationality;  the  reflection  in  patri- 
otic thought  of  the  line  of  poetry  and  the  shadows  of 
heroic  characters;  and  the  echoes,  alike  of  the  wailing 
of  a multitude,  and  of  the  mad-seeming  merriment  of 
the  laughter  of  a race. 

“Any  history  of  Japanese  art-ideals  is,  then,  almost  an 
impossibility,  as  long  as  the  western  world  remains  so 
unaware  of  the  varied  environment  and  interrelated 
social  phenomena  into  which  that  art  is  set,  as  it  were  a 
jewel.  Definition  is  limitation.  The  beauty  of  a cloud 
or  a flower  lies  in  its  unconscious  unfolding  of  itself,  and 
the  silent  eloquence  of  the  masterpieces  of  each  epoch 
must  tell  their  story  better  than  any  epitome  of  neces- 
sary after-truths.” 

Okakura  Kakuzo. 


IvOYETSU 

BORN  1556.  DIED  1637 

246 

ONE  PAIR  SIX-FOLD  SCREENS 

GARDEN  SCENE  WITH  RUNNING  STREAM  AND  PAINTED  FANS 


247 

ONE  TWO  FOLD  SCREEN 

COCIvSCOMRS  AND  OTHER  FLOWERS 

142 


TWOFOLD  SCREEN  BY  KOYETSl 


I 


r 


PART  V : ORIENTAL  PAINTINGS 

248 

ONE  TWO  FOLD  SCREEN 

CORN  AND  COCKSCOMRS 

249 

ONE  PANEL 

COCKSCOMBS 

“In  the  beginning  of  the  seventeenth  century,  there 
appeared  in  Kyoto  a lacquerer  of  uncommon  talent, 
Koyetsu  Hannami,  who  by  virtue  of  his  ability  in  calig- 
raphy  and  painting  invented  a style  of  lacquering  of 
unusual  merit.  In  the  quality  of  designs  and  of  tech- 
nique, no  other  productions  can  bear  comparison  with 
his,  for  Koyetsu’s  art  was  the  joint  product  of  his  high 
personality  and  his  varied  accomplishments  in  litera- 
ture, painting,  the  Chanoyu,  and  even  in  landscape 
gardening.  Koyetsu,  among  many  other  innovations  in 
lacquer-work,  brought  in  the  use  of  tin,  lead  and  mother- 
of-pearl.  Highly  accomplished  as  Koyetsu  was  in  the 
lacquering  art,  it  after  all  was  to  him  a mere  diversion  of 
his  leisure  hours,  for  his  chief  duty  was  to  examine  and 
judge  old  swords,  an  occupation  of  considerable  impor- 
tance in  ancient  times.  For  this  reason  he  did  not  leave 
behind  him  very  many  productions,  and  this  fact  ac- 
counts for  the  rarity  of  genuine  pieces  from  his  hand. 
Of  whom  he  first  learned  the  art  is  past  finding  out, 
though  it  is  known  that  in  ceramics  he  received  instruc- 
tions from  Ivoho.” 

The  Kokka. 
143 


THE  TOLEDO  MUSEUM  OF  ART 


SOTATSU 

BORN  1623.  DIED  1685 

250 

ONE  FOUR  FOLD  SCREEN 

GARDEN  SCENE  WITH  FLOWERS  AND  BRANCHES  OF 
MIMOSA  TREE 

251 

ONE  TWO  FOLD  SCREEN 

FLOWERS  ON  SILVER  BACKGROUND 

“With  Koyetsu  is  associated  another  man  of  genius, 
his  friend  Sotatsu.  The  two  sometimes  worked  together 
on  a single  makimono,  Koyetsu  adding  specimens  of  his 
beautiful  writing  to  Sotatsu’s  paintings.  Little  is  known 
of  Sotatsu’s  life,  but  his  works  reveal  a consummate  ge- 
nius for  design.  Among  all  the  eminent  flower  painters 
of  Japan  he  stands,  in  the  estimation  of  his  countrymen, 
supreme.  Technically  he  was  an  innovation.  He  mixed 
gold  with  his  Chinese  ink,  adding  a hidden  lustre  and 
rare  gleam  to  grey  and  black.  The  leaves  of  his  flowers 
are  often  veined  with  gold.  He  was  fond  of  effacing  the 
ground;  we  see  shoots  of  bamboo  and  young  fern-fronds 
springing  up  from  space.  His  typical  masterpieces  are 
screens  overlaid  with  gold  or  silver  leaf,  on  which  the 
pigment  is  gorgeously  encrusted.  Yet  his  magnificence 
of  color,  which  loves  broad  spaces  of  lapis  blue,  and 

144 


PART  OF  SCREEN  BY  SOTATSU 
RENT  BY  THE  NATIONAL  GALLERY  OF  ART,  WASHINGTON 

(freer  collection) 


PART  V : ORIENTAL  PAINTINGS 


exults  in  crimsons,  emerald,  and  purple,  keeps  always  a 
stately  dignity;  a marvelous  sense  of  measure  holds  all 
the  elements  of  his  art  in  balance.” 

Laurence  Binyon. 


KORIN 

BORN  1640.  DIED  1716 
252 

ONE  TWO  FOLD  SCREEN 

FLOWER  GARDEN 

“Korin  was  related  to  Koyetsu  in  that  his  grandmother 
was  the  elder  sister  of  the  latter.  Korin’s  grandfather 
had  been  in  hard  circumstances  before  he  turned  out  to 
be  a dry-goods  merchant,  but  at  the  time  of  the  birth  of 
our  artistic  genius,  his  father  was  driving  a prosperous 
trade.  The  latter  was  a man  of  considerable  culture, 
having  mastered  the  secrets  of  caligraphy  under  Koyet- 
su, an  uncle  on  his  wife’s  side.  Though  horn  of  a mer- 
cantile family, Korin  did  not  succeed  to  his  father’s  trade, 
but  instead  chose  painting  as  his  life-work.  He  studied 
art,  some  say  under  Yasunobu  Kano,  but  according  to 
others  under  Tsunenobu  Kano.  It  is,  however,  evident 
that  Korin  admired  the  styles  of  Koyetsu  and  Sotatsu, 
which  he  followed  until  he  evolved  one  of  his  own.  Like 
Koyetsu,  Korin  was  also  adept  in  the  Chanoyu  and  in 
landscape  gardening. 


145 


THE  TOLEDO  MUSEUM  OF  ART 


“The  careless  and  indifferent  manner  in  which  extem- 
poraneous works  of  Korin  are  apparently  done  gives  one 
at  first  an  impression  that  he  was  too  independent  of  the 
conventionalities  of  art.  But  closer  study  of  his  work 
compels  a change  of  opinion,  the  admiration  extorted 
being  all  the  greater  because  in  no  one  of  his  productions 
is  there  a trace  of  that  mental  toil  so  inseparable  from 
mediocrity.  In  truth,  his  pictures  mirror  most  f aithf ully 
the  characteristics  of  the  age  in  which  he  lived,  so  varied 
and  so  suggestive.  His  creations  are  always  rich  in  grace 
and  beauty,  and  never  marred  by  that  wild  grotesque- 
ness which  has  too  often  been  mistaken  for  nobility.  The 
beauty  of  Korin’s  art  is  in  his  loftiness  of  conception  and 
in  the  facile  strokes  of  his  brush.  A painter  of  the  im- 
pressionist school,  as  Korin  was,  he  did  not  concern  him- 
self about  accuracy  so  long  as  he  succeeded  in  imparting 
some  spiritual  significance,  which  significance,  how- 
ever, may  in  many  cases  escape  the  perception  of  mat- 
ter-of-fact observers, — this  subtlety  being  the  very  thing 
which  so  delights  the  hearts  of  true  lovers  of  Japanese 
art. 

“As  originators  of  new  decorative  designs  in  the  field 
of  modern  painting,  Korin  and  some  of  his  accomplished 
followers  are  deservedly  entitled  to  high  praise.  Com- 
bining the  telling  strokes  of  the  Kanos  with  the  fasci- 
nating coloring  of  the  Tosas,  the  style  of  the  Korin 
school  is  marked  by  qualities  ethereal  in  tone  and  irre- 
sistible in  effect.  It  is  because  of  its  remarkable  success 

146 


(freer  collection) 


PART  V : ORIENTAL  PAINTINGS 

in  creating  a style  of  the  purely  Japanese  type  by  the 
amalgamation  of  styles  radically  different  in  their  ge- 
nius, that  the  Korin  school  has  been  honored  with  its 
high  place  in  the  history  of  Japanese  art. 

“It  was  Korin  who  decorated  with  life-size  flower 
masses  in  gold  and  flowing  color  the  sliding  doors  of  the 
aristocratic  Yashikis  of  Toku-Gawa.” 

The  Kokka. 


KENZAN 

BORN  1662.  DIED  1743 

253 

ONE  FOUR  FOLD  SCREEN 

HILL-TOP,  FLOWERS  AND  WILLOW  TREES 

254 

ONE  TWO  FOLD  SCREEN 

AUTUMN  FOLIAGE  SNOW-COVERED 

255 

ONE  PANEL 

TREE  TRUNK  AND  AUTUMNAL  FOLIAGE 
SNOW-COVERED 

“Son  of  Soken,  and  brother  of  the  illustrious  Korin, 
Yuigen  was  the  artist’s  given  name,  but  as  pseudonyms 
he  used,  besides  Kenzan,  several  others,  such  as  Shinsei, 
Shoko,  To-in,  Gyokudo,  Reikai,  Tozen  and  Shuseido.  A 
man  of  versatile  talent,  Kenzan  did  not  confine  himself 
to  art,  but  also  showed  many  accomplishments  in  litera- 

147 


THE  TOLEDO  MUSEUM  OF  ART 

ture  and  in  the  Chanoyu,  both  of  which  he  studied  under 
his  distinguished  contemporary  Yoken  Fujimura.  Nor 
did  the  artist  neglect  religious  studies,  which  he  pursued 
under  a celebrated  divine  of  his  time. 

“Kenzan  died  in  the  third  year  of  the  Kwampo  Era, 
1743  a.d.,  at  the  age  of  eighty-one.  At  the  time  of  his 
death  he  was  absolutely  penniless,  so  that  his  Imperial 
patron  is  said  to  have  graciously  provided  his  funeral 
expenses.  On  one  side  of  his  tomb  was  carved  a verse  to 
the  following  effect: 

“ ‘Sorrows  and  pleasures,  once  passed, 
leave  naught  but  dreams.’ 

“In  most  of  his  pottery  works  he  signed  himself  Shisui 
Kenzan,  or  Shisui  Shinsei,  or  simply  Kenzan.  Then,  too, 
his  talent  was  not  limited  to  that  particular  industry 
only;  indeed,  his  genius  revealed  itself  also  in  calig- 
raphy,  painting  and  literature.  Next  to  ceramics,  paint- 
ing was  his  chief  accomplishment,  he  having  most  favor- 
ably handled  flowers  and  birds,  and  sometimes  even 
landscapes.  His  style  favored  that  of  Koyetsu  and  So- 
tatsu  more  than  that  of  Korin;  for  he  seems  to  have  laid 
great  stress  on  the  power  of  touch,  and  to  have  preferred 
a bold,  unconventional  tone  to  beauty  of  coloring.  This 
fact  is  clearly  proved  by  the  vigorous  designs  on  his 
pottery.  His  paintings  show  nothing  of  the  crudity  and 
blemishes  of  the  so-called  porcelain  painters  of  later 

148 


LENT  BY  THE  NATIONAL  GALLERY  OF  ART,  WASHINGTON 

(freer  collection) 


PART  V : ORIENTAL  PAINTINGS 


ages.  Truly  Kenzan  deserves  a place  in  the  ranks  of 
first-class  painters. 

“Although  Kenzan  belonged  to  the  school  which  bears 
the  name  of  his  illustrious  brother,  he,  unlike  Korin,  who 
affected  beautiful  coloring,  took  to  ink  sketches  of  clas- 
sic simplicity,  which  taste  may  be  accounted  for  by  his 
intense  devotion  to  religion  and  the  Chanoyu  ceremonj7, 
both  of  which  have  a recognized  quieting  influence  upon 
the  hearts  of  their  devotees.  Still,  Kenzan’s  pictures 
were  not  always  in  black  and  white;  on  the  contrary, 
they  sometimes  were  illuminated  in  a splendor  of  col- 
ors.” 

The  Kokka. 


149 


LIST  OF  CONTRIBUTORS 
AND 

LIST  OF  ARTISTS 
REPRESENTED 


LIST  OF  CONTRIBUTORS 


Allen,  Frank  Gates,  Moline,  111. 

233  Israels,  Josef  Near  the  Cradle. 


Art  Association  of  Indianapolis. 


20  Chase,  William  M. 

84  Sargent,  John  S. 

86  Schofield,  W.  Elmer 

Art  Institute  of  Chicago. 
1 Alexander,  John  W. 

7 Benson,  Frank  W. 

15  Brush,  George  DeForest 
18  Chase,  William  M. 

57  McEwen,  Walter 
64  Metcalf,  Willard  L. 

68  Murphy,  J.  Francis 
112  Wyant,  Alexander  14. 

Bixby,  W.  K.,  St.  Louis. 

166  Corot,  J.  B.  C. 

239  Israels,  Josef 

240  Israels,  Josef 
211  Troyon,  Constant 
219  Weissenbruch,  J.  II. 


Still  Life. 

Portrait  of  James  Whitcomb 
Riley. 

Old  Mills  on  the  Somme. 

Sunlight. 

A Rainy  Day. 

A Family  Group. 

Alice. 

Lady  in  White  Satin  Gown. 
Ice-Bound. 

The  Hill-Top. 

Edge  of  the  Woods. 

The  Shepherds. 

The  Three  Paddlers. 

The  Frugal  Meal. 

Cattle  Drinking  at  a Pool. 
Landscape  and  Clouds. 


Burke,  Edward  S.,  Jr.,  Cleveland. 


191  Millet,  Jean  Francois 

192  Millet,  Jean  Francois 

193  Millet,  Jean  Francois 

194  Millet,  Jean  Francois 


The  Pig-Killers. 
Sheep-Shearing. 
Laborer  Resting. 
Shepherdess. 


153 


LIST  OF  CONTRIBUTORS 


Buffalo  Fine  Arts  Academy. 


10  Benson,  Frank  W. 
13  Blakelock,  Balph  A. 
47  Inness,  George 
70  Murphy,  J.  Francis 
79  Reid,  Robert 
85  Schofield,  W.  Elmer 
94  Tryon,  Dwight  W. 


The  Sisters. 

Autumn. 

The  Coming  Storm. 
Neglected  Lands. 
The  Pink  Carnation 
Autumn  in  Brittany. 
An  Evening  in  May. 


Butler,  Edward  B.,  Chicago. 

48  Inness,  George  A Silvery  Morning. 

230  Israels,  Josef  After  the  Storm. 


Canfield,  Richard,  New  York. 

101  Whistler,  James  McN.  Rosa  Corder. 


Carnegie  Institute,  Pittsburgh. 

63  Melchers,  Gari  Sailor  and  Sweetheart. 

87  Shannon,  J.  J.  Miss  Kitty. 


Cincinnati  Museum  Association. 


19  Chase,  William  M. 

31  Duveneek,  Frank 

223  Israels,  Josef 

91  Tarbell,  Edmund  C. 

Cole,  Thomas  F.,  Duluth. 
159  Alma-Tadema,  Sir  L. 

Cudney,  Ralph,  Chicago. 

224  Israels,  Josef 
244  Israels,  Josef 
190  Mauve,  Anton 

218  Weissenbruch,  J.  H. 

Detroit  Museum  of  Art. 
27  Dewing,  Thomas 
45  Hunt,  William  M. 

62  Melchers,  Gari 
67  Metcalf,  Willard  L. 


Still  Life. 

Whistling  Boy. 

The  Convalescent. 

Woman  in  Pink  and  Green. 


Spring. 


Homewards.  (Water  color.) 
Maternal  Happiness. 

Plowing. 

The  Windmills. 


The  Recitation. 
The  Ball-Players. 
The  Vespers. 

The  White  Veil. 

154 


LIST  OF  CONTRIBUTORS 


Durand-Ruel,  New  York. 
17  Cassatt,  Mary 
196  Monet,  Claude 
201  Renoir,  P.  A. 


Woman  and  Child. 
Coast-Guard’s  Hut. 

Little  Girl  Skipping  the  Rope. 


Dustin,  Silas  F.,  New  York. 

80  Robinson,  Theodore  Halt  on  the  Towpath. 

95  Twachtman,  John  H.  Niagara  Falls. 


Evans,  William  T.,  Montclair,  N.  J. 

138  MacNeil,  H.  A.  The  Sun  Vow. 

Fearon,  Walter  P.,  New  York. 

81  Ryder,  Albert  P.  Mending  the  Harness. 


Ford,  Mr.  and  Mrs.  Edward,  Toledo. 


46  Hutchens,  Frank  T. 

Ford,  E.  L.,  Detroit. 

225  Israels,  Josef 
236  Israels,  Josef 

Ford,  J.  B.,  Detroit. 

169  Diaz,  N. 

174  Gainsborough,  Thomas 
203  Romney,  George 


The  Song  in  the  Sky. 


The  New  Flower. 
The  Pancake. 


Pool  at  the  Edge  of  the  Forest. 
The  Market  Cart. 

Portrait  of  Thomas  Grove. 


Ford,  Miss  Stella  D.,  Detroit. 


161  Rouguereau,  William  A. 
165  Corot,  J.  R.  C. 

238  Israels,  Josef 
180  Jacque,  Charles  E. 

189  Mauve,  Anton 
206  Rousseau,  Theodore 

212  Turner,  J.  W.  M. 

213  Turner,  J.  W.  M. 


The  Orphans. 

La  Cueillette  a Mortefontaine 
The  Trousseau. 

The  Flock. 

Going  to  Pasture. 

Lc  Dormoir — Foret  de  Fon- 
tainebleau. 

Lucerne. 

Florence. 


French,  Mrs.  Nathaniel,  Davenport,  la. 
227  Israels,  Josef  In  Thought. 

186  Maris,  Matthew  A Fantasy. 

155 


LIST  OF  CONTRIBUTORS 


Frick,  Henry  C.,  New  York. 

176  El  Greco.  (D.  Theotoco- 

puli.)  St.  Jerome. 

Goodman,  William  0.,  Chicago. 

222  Israels,  Josef  Mother’s  Cares. 

182  Lhermitte,  Leon  Harvest  Time. 


Gunsaulus,  Frank  W.,  D.D.,  Chicago. 

163  Cazin,  J.  C.  The  Repentance  of  Peter. 

229  Israels,  Josef  The  Army  and  the  Navy. 

(Water  color.) 


Humphreys,  Dr.  Alexander  C.,  New  York. 

69  Murphy,  J.  Francis  Afterglow — October 


Huntington,  Henry  E.,  P 

171  Gainsborough,  Thomas 

172  Gainsborough,  Thomas 

173  Gainsborough,  Thomas 
204  Romney,  George 


Hutchinson,  Charles  L., 
205  Rossetti,  Dante  Gabriel 
217  Watts,  George  F. 

Kleinberger,  F.,  Paris. 

170  Fyt,  Jan 
198  Prevost,  Jan 
207  Rubens,  Peter  Paul 
209  Van  Ruysdael,  Saloman 


few  York. 

Lady  Petre. 

Viscount  Ligonier. 

Viscountess  Ligonier. 

Caroline,  Viscountess  Clifden, 
and  her  sister  Lady  Elizabeth 
Spencer. 

Chicago. 

Beata  Beatrix. 

Time,  Death,  and  Judgment. 

Dead  Game. 

Pieta. 

The  Woman  Taken  in  Adultery. 
Halt  before  an  Inn. 


Libbey.  Mr.  and  Mrs.  Edward  Drummond.  Toledo. 


164  Constable,  John 
178  Hals,  Franz 
226  Israles,  Josef 
243  Israels,  Josef 

44  Homer,  Winslow 
187  Mauve,  Anton 

199  Raeburn,  Sir  Henry 

200  Rembrandt 


Arundel  Mill  and  Castle. 
Boy  Playing  a Flute. 

The  Daily  Bread. 

Last  Portrait  of  the  Artist. 

Painted  by  Himself. 
Sunlight  on  the  Coast. 
Sheep  on  the  Dunes. 

Lady  Janet  Traill. 

Portrait  of  Himself. 


156 


LIST  OF  CONTRIBUTORS 


Logan,  Mr.  and  Mrs.  Frank  G.,  Chicago. 


160  Bonheur,  Rosa 

220  Israels,  Josef 

221  Israels,  Josef 
51  Keith,  William 

97  Waugh,  Frederick  J. 

Lotos  Club,  New  York. 

60  Martin,  Homer  D. 

78  Reid,  Robert 

Lytton,  George,  Chicago. 
245  Israels,  Josef 

Lytton,  Henry  C.,  Chicago. 
168  Decamps,  Alexandre  G. 

231  Israels,  Josef 

232  Israels,  Josef 
184  Maris,  Jacob 


Lion’s  Head. 

Sexton  of  Katwijk. 

Toilers  of  the  Sea. 

Evening  on  the  High  Sierras. 
Gloucester  Wave. 

Newport  Neck. 

A Village  Juno. 

The  Pancake.  (Water  color.) 

Contrabandists. 

The  Potato  Peelers. 

Washing  the  Cradle 
Amsterdam. 


Mansfield,  J.  Burton,  New  Haven,  Ct. 

12  Blakelock,  Ralph  A.  Sunset. 

Macbeth,  William,  New  York. 

40  Hawthorne,  Charles  W.  The  Family. 

59  Martin,  Homer  D.  The  Sea  near  Villerville. 

82  Ryder,  Chauncey  F.  A New  Hampshire  Landscape. 

110  Williams,  Fred’k  Ballard  A Mountain  Glen. 

111  Wyant,  Alexander  H.  Rocky  Ledge,  Adirondacks. 

McCutcheon,  George  Barr,  Chicago. 

14  Browne,  George  Elmer  Finisterre. 

Metropolitan  Museum  of  Art,  New  York. 

237  Israels,  Josef  Expectation. 

54  La  Farge,  John  Muse  of  Painting. 

Montross,  N.  E.,  New  York. 

96  Walker,  Horatio  Plowing — The  First  Gleam. 

55  Lathrop,  William  L.  Road  to  the  Sea. 

Morris,  Edward,  Chicago. 

234  Israels,  Josef  Old  Age. 

157 


LIST  OF  CONTRIBUTORS 


The  National  Gallery  of 

lection). 

26  Dewing,  Thomas 
43  Homer,  Winslow 
61  Melchers,  Gari 

92  Thayer,  Abbott  H. 

93  Tryon,  Dwight  W. 

102  Whistler,  James  McN. 

103  Whistler,  James  McN. 

104  Whistler,  James  McN. 

105  Whistler,  James  McN. 

106  Whistler,  James  McN. 

107  Whistler,  James  McN. 

108  Whistler,  James  McN. 

109  Whistler,  James  McN. 


Art,  Washington  (Freer  Col- 

Portrait  of  a Girl. 

Early  Morning. 

Portrait  of  ex-President  Roose- 
velt. 

Portrait  of  the  Artist’s  Son. 

October. 

Vert  et  Or — Le  Raconteur. 

Rose  and  Gold — The  Little  Lady 
Sophie  of  Soho. 

Little  Green  Cap. 

Little  Faustina. 

Gray  and  Silver — Chelsea  Em- 
bankment. (Nocturne.) 

Trafalgar  Square,  Chelsea. 
(Nocturne.) 

A Note  in  Rlue  and  Opal — The 
Sun  Cloud. 

Green  and  Gold — The  Great  Sea. 


Pratt,  Bela  L.,  Boston. 

90  Tarbell,  Edmund  C.  Girl  Crochetting. 


Reinhardt,  Henry. 

215  Van  Cleef,  Joos 

216  Van  Dyck,  Sir  Anthony 

Robinson,  Edward,  New  York. 


83  Sargent,  John  Singer 

Ryerson,  Martin,  Chicago. 
183  Manet,  Edouard 
197  Ochtervclt,  Jacob 
210  Stevens,  Alfred 
214  Van  der  Capelle,  Jan 


Madonna. 

Portrait  of  Count  Pfals-Neu- 
burg. 

Portrait  of  Edward  Robinson, 
Esq. 

The  Bull-Fight. 

The  Musicians. 

The  Widow. 

The  Calm. 


Secor,  Arthur  J.,  Toledo. 

162  Breton,  Jules  A.  The  Shepherds’  Star. 

235  Israels,  Josef  Children  of  the  Sea. 

158 


LIST  OF  CONTRIBUTORS 


Stephens.  George  A..  Moline.  111. 


167  Corot,  J.  B.  C. 

228  Israels,  Josef 
179  Jacque,  Charles  E. 

185  Maris,  Jacob 

Swift,  Edward  F.,  Chicago. 
74  Ranger,  Henry  W. 

Torrey,  Mrs.  H.  N.,  Detroit 
177  Greuze,  J.  B. 

241  Israels,  Josef 

242  Israels,  Josef 
181  Le  Brun,  Mine.  Vigee 
188  Mauve,  Anton 
195  Millet,  J.  F. 

208  Rubens,  Peter  Paul 

University  of  Chicago. 

11  Betts,  Louis 


Wood,  Arnold,  New  York. 
73  Parshall,  DeWitt 


The  Ravine. 

The  Madonna  of  the  Cottage. 
Landscape  with  Sheep. 

A Stormy  Day. 

Peaceful  Valley. 

Portrait  of  Mademoiselle  Greuze. 
The  Cottage  Madonna. 

The  Ray  of  Sunshine. 

Countess  of  Chatenay. 

Sheep  at  Laren. 

The  Goose  Girl. 

Portrait  of  the  Marquis  Spinola. 

Portrait  of  Charles  L.  Hutchin- 
son, Esq.,  President  of  the  Art 
Institute  of  Chicago. 

Fog — Grand  Canyon. 


159 


LIST  OF  ARTISTS  REPRESENTED 


THE  FIGURES  FOLLOWING  THE  ADDRESS  REFER  TO 
THE  NUMRERS  IN  THIS  CATALOGUE 

Adams,  Herbert.  V.  P.  N.  A.  D.  New  York,  113. 

Aitken,  Robert  I.  A.  N.  A.  New  York,  114, 115. 

Alexander,  John  W.  New  York,  1,  2,  3. 

Alma-Tadema,  Sir  Lawrence.  R.  A.  London,  159. 

Rallin,  Hugo.  A.  N.  A.  New  York,  4. 

Reach,  Chester.  A.  N.  A.  New  York,  116. 

Reatty,  John  W.  Pittsburgh,  Pa.,  5. 

Reaux,  Cecilia.  N.  A.  New  York,  6. 

Renson,  Frank  W.  N.  A.  Roston,  Mass.,  7,  8,  9,  10. 

Retts,  Louis.  Chicago,  111.,  11. 

Rlakelock,  Ralph  Albert.  New  York,  12, 13. 

Ronlieur,  Rosa.  Deceased,  160. 

Rorglum,  Solon  H.  A.  N.  A.  New  York,  117. 

Rouguereau,  William  Adolphe.  Deceased,  161. 

Rrenner,  Victor  David.  New  York,  118,  119. 

Rreton,  Jules  A.  Deceased,  162. 

Rrowne,  George  Elmer.  France,  14. 

Rrush,  George  DcForest.  N.  A.  New  York,  15. 

Rurroughs,  Edith  Woodman  (Mrs.  Rryson  Rurroughs).  New 
York,  120. 

Calder,  Alexander  Stirling.  A.  N.  A.  Croton-on-Hudson,  N.  Y., 

121. 

Carlsen,  Emil.  N.  A.  New  York,  16. 

Cassatt,  Mary.  A.  N.  A.  Paris,  17. 

Cazin,  Jean  Charles.  Deceased,  163. 

Chase,  William  M.  N.  A.  New  York,  18,  19,  20. 

Constable,  John.  R.  A.  Deceased,  164. 

Corot,  Jean  Raptiste  Camille.  Deceased,  165,  166,  167. 
Daingerfield,  Elliott.  N.  A.  New  York,  21,  22. 

D allin,  Cyrus.  New  York,  122. 

ICO 


LIST  OF  ARTISTS  REPRESENTED 

Dearth,  Henry  Golden.  N.  A.  New  York,  24. 

De  Camp,  Joseph.  Boston,  Mass.,  23. 

DeCamps,  Alexandre  Gabriel.  Deceased,  168. 

Dessar,  Louis  Paul.  N.  A.  New  York,  25. 

Dewing,  Thomas  W.  N.  A.  New  York,  26,  27. 

Diaz,  Narcisse  Virgile  de  la  Pena.  Deceased,  169. 

Donoho,  Gaines  Ruger.  New  York,  28,  29. 

Dougherty,  Paul.  N.  A.  New  York,  30. 

Duveneck,  Frank.  N.  A.  Cincinnati,  O.,  31,  32. 

Eberle,  Abastenia  St.  Leger.  New  York,  123. 

Flanagan,  John.  A.  N.  A.  New  York,  124. 

Foster,  Ben.  N.  A.  New  York,  33,  34. 

French,  Daniel  Chester.  N.  A.  New  York,  125. 

Fry,  Sherry  Edmundson.  New  York,  126. 

Funk,  Wilhelm.  New  York,  35. 

Fyt,  Jan.  Deceased,  170. 

Gainsborough,  Thomas.  R.  A.  Deceased,  171,  172,  173,  174,  175. 
Greco,  El  (Domenico  Theotocopuli).  Deceased,  176. 

Greuze,  Jean  Baptiste.  Deceased,  177. 

Groll,  Albert  Lorey.  N.  A.  New  York,  36. 

Hals,  Franz.  Deceased,  178. 

Hartley,  Jonathan  Scott.  N.  A.  New  York,  127. 

Harvey,  Eli.  Incensed-,  128. 

Hassam,  Childe.  N.  A.  New  York,  37,  38,  39. 

Hawthorne,  Charles  W.  N.  A.  Paris,  40. 

Heber,  Carl  Augustus.  New  York,  129. 

Henri,  Robert.  N.  A.  New  York,  41,  42. 

Homer,  Winslow.  N.  A.  Deceased,  43,  44. 

Hunt,  William  Morris.  Deceased,  45. 

Hutchens,  Frank  Townsend.  New  York,  46. 

Hyatt,  Anna  Vaughn.  New  York,  130. 

Inness,  George.  N.  A.  Deceased,  47,  48,  49. 

Israels,  Josef.  Deceased,  220  to  245  inclusive. 

Jacque,  Charles  Fmile.  Deceased,  179,  180. 

Johansen,  John  C.  A.  N.  A.  New  York,  50. 

Keck,  Charles.  New  York,  131. 

Keith,  William.  Deceased,  51. 

Kendall,  William  Sergeant.  N.  A.  New  York,  52,  53. 

Kenzan.  Deceased,  253,  254,  255. 

Konti,  Isidor.  N.  A.  New  York,  132. 

Korin.  Deceased,  252. 

Koyetsu.  Deceased,  246,  247,  248. 

161 


LIST  OF  ARTISTS  REPRESENTED 


LaFarge,  John.  N.  A.  Deceased,  54. 

Lathrop,  William  Langson.  N.  A.  New  Hope,  Pa.,  55. 

Le  Brun,  Marie  Louise  Elizabeth  (nee  Vigee).  Deceased,  181. 
Lentelli,  Leo.  New  York,  133. 

Lhermitte,  Leon  Augustin.  Deceased,  182. 

Lie,  Jonas.  New  York,  56. 

Linder,  Henry.  Deceased,  134. 

McCarten,  Edward  F.  New  York,  135. 

McEwen,  Walter.  Paris,  57. 

McLean,  M.  Jean.  New  York,  58. 

MacMonnies,  Frederick  William.  N.  A.  Paris,  136. 

MacNeil,  Carol  Brooks.  College  Point,  L.  I.,  N.  Y.,  137. 

MacNeil,  Harmon  Atkins.  N.  A.  College  Point,  L.  I.,  N.  Y.,  138. 
Manet,  Edouard.  Deceased,  183. 

Maris,  Jacob.  Deceased,  184, 185. 

Maris,  Matthew.  Deceased,  186. 

Martin,  Homer  D.  N.  A.  Deceased,  59,  60. 

Martiny,  Philip.  A.  N.  A.  New  York,  139. 

Mauve,  Anton.  Deceased,  187, 188, 189, 190. 

Mears,  Helen  Farnsworth.  New  York,  140. 

Melchers,  Gari.  N.  A.  Germany,  61,  62,  63. 

Metcalf,  Willard  Leroy.  New  York,  64,  65,  66,  67. 

Millet,  Jean  Francois.  Deceased,  191,  192,  193,  194,  195. 

Monet,  Claude.  Deceased,  196. 

Murphy,  John  Francis.  N.  A.  New  York,  68,  69,  70. 

Newman,  Allen  G.  New  York,  141. 

Niehaus,  Charles  Henry.  N.  A.  New  York,  142. 

Ochtervelt,  Jacob.  Deceased,  197. 

Ochtman,  Leonard.  N.  A.  Cos  Cob,  Conn.,  71,  72. 

Parshall,  DeWitt  C.  A.  N.  A.  New  York,  73. 

Piccirilli,  Attilio.  A.  N.  A.  New  York,  143. 

Piccirilli,  Furio.  New  York,  144. 

Prevost,  Jan.  Deceased,  198. 

Proctor,  Alexander  Phimister.  N.  A.  New  York,  145. 

Putnam,  Arthur.  New  York,  146. 

Quinn,  Edmond  T.  New  York,  147. 

Raeburn,  Sir  Henry.  R.  A.  Deceased,  199. 

Ranger,  Henry  W.  N.  A.  New  York,  74,  75. 

Redfield,  Edward  W.  Centre  Bridge,  Pa.,  76,  77. 

Reid,  Robert.  N.  A.  New  York,  78,  79. 

Rembrandt,  Harmensz  van  Rijn.  Deceased,  200. 

Renoir,  Pierre  Auguste.  Deceased,  201. 

162 


LIST  OF  ARTISTS  REPRESENTED 

Reynolds,  Sir  Joshua.  P.  R.  A.  Deceased,  202. 

Robinson,  Theodore.  Deceased,  80. 

Romney,  George.  Deceased,  203,  204. 

Rossetti,  Gabriel  Charles  Dante.  Deceased,  205. 

Roth,  Frederick  G.  R.  N.  A.  New  York,  148. 

Rousseau,  Theodore.  Deceased,  206. 

Rubens,  Peter  Paul.  Deceased,  207,  208. 

Ruysdael,  Salomon  van.  Deceased,  209. 

Ryder,  Albert  P.  N.  A.  New  York,  81. 

Ryder,  Chauncey  F.  New  York,  82. 

Saint-Gaudens,  Augustus.  N.  A.  Deceased,  149. 

Sargent,  John  Singer.  N.  A.,  R.  A.  London,  82,  83. 
Schofield,  W.  Elmer.  N.  A.  Philadelphia,  Pa.,  85,  86. 
Schuler,  Hans.  New  York,  150. 

Scudder,  Janet.  New  York,  151. 

Shannon,  James  J.  R.  A.  London,  87. 

Sotatsu.  Deceased,  250,  251. 

Stevens,  Alfred.  Deceased,  210. 

Symons,  Gardner.  N.  A.  New  York,  88,  89. 

Tarbell,  Edmund  C.  N.  A.  Boston,  90,  91. 

Thayer,  Abbott  H.  N.  A.  Monadnock,  N.  H.,  92. 

Troatin,  Constant.  Deceased,  211. 

Tryon,  Dwight  W.  N.  A.  New  York,  93,  94. 

Turner,  Joseph  Mallord  William.  R.  A.  Deceased,  212,  213. 
Twachtman,  John  14.  Deceased,  95. 

Van  der  Capelle,  Jan.  Deceased,  214. 

Van  Cleef,  Joos.  Deceased,  215. 

Van  Dyck,  Sir  Anthony.  Deceased,  216. 

Vonnoh,  Bessie  Potter.  A.  N.  A.  New  York,  152. 

Walker,  Horatio.  N.  A.  New  York,  96. 

Walter,  Edgar.  New  York,  153. 

Ward,  John  Quincy  Adams.  N.  A.  Deceased,  154. 

Warner,  Olin.  N.  A.  Deceased,  155. 

Watts,  George  Frederick.  R.  A.  Deceased,  217. 

Waugh,  Frederick  J.  N.  A.  New  York,  97. 

Weinman,  Adolphe  A.  N.  A.  New  York,  156. 

Weir,  Julian  Alden.  N.  A.  98,  99,  100. 

Weissenbrucit,  J.  II.  Deceased,  218,  219. 

Whistler,  James  McNeill.  Deceased,  101  to  109  inclusive. 
Williams,  Frederick  Ballard.  N.  A.  New  York,  110. 
Wyant,  Alexander  H.  N.  A.  Deceased,  111,  112. 

Young,  Mahonri.  New  York,  157,  158. 

163 


704 


GETTY  CENTER  LIBRARY 


9*  1 Toledo  Museum  of  Art 

Catalogue  of  the  inaugural  exhibition  : 


1 11 11  h mi  i i ii  mm  iiiiii  ii 

3 3125  00227  5622 


